"the entire Arcades complex (without definitive title, to be sure) remained in the form of several hundred notes and reflections of varying length, which Benjamin revised and grouped in sheafs, or 'convolutes;' according to a host of topics. Additionally, from the late Twenties on, it would appear, citations were incorporated into these materials-passages drawn mainly from an array of nineteenth-century sources, but also from the works of key contemporaries (Marcel Proust, Paul Valery, Louis Aragon, Andre Breton, Georg Sinunel, Ernst Bloch, Siegfried Kracauer, Theodor Adorno). These proliferating individual passages, extracted from their original context like collectibles, were eventually set up to communicate among themselves, often in a rather subterranean manner. The organized masses of historical objects-the particular items of Benjamin's display (drafts and excerpts)-together give rise to 'a world of secret affinities;' and each separate article in the collection, each entry, was to constitute a 'magic encyclopedia' of the epoch from which it derived. An image of that epoch. In the background of this theory of the historical image, constituent of a historical 'mirror world;' stands the idea of the monad-an idea given its most comprehensive formulation in the pages on origin in the prologue to Benjamin's book on German tragic drama, Ursprung des deutschen Trauerspiels (Origin of the German Trauerspiel)-and back of this the doctrine of the reflective medium, in its significance for the object, as expounded in Benjamin's 1919 dissertation, 'Der Begriff der Kunstkritik in der deutschen Romantik' (The Concept of Criticism in German Romanticism). At bottom, a canon of (nonsensuous) similitude rules the conception of the Arcades."
(Howard Eiland and Kevin McLaughlin, p.x)
Benjamin, Walter (2002). "Das Passagen-werk [The Arcades Project]", US: Harvard University Press. 0674008022
Fig.1 Edizioni Brogi (circa 1880). No.4608 "Ottagono della Galleria Vittorio Emanuele", Milano.
"Consider the following three Cartesian theses:
Substance dualism: Any substance with mental properties lacks material properties and any substance with material properties lacks mental properties.
Property dualism: Mental properties and material properties are different properties.
Real distinction between mind and body: The mind and the body are numerically distinct substances.
How are these theses logically related? Substance dualism is the strongest of the three, and entails the other two. It entails the real distinction between mind and body. For the mind is a substance with mental properties, and the body is a substance with material properties. Now if the mind lacks material properties, and the body lacks mental properties, then the mind and the body cannot be the same substance. But the real distinction between mind and body does not entail substance dualism. For that mind and body are two numerically distinct substances is compatible with both of them having both mental and material properties.
Substance dualism also entails property dualism. For if a substance with mental properties lacks material properties, then mental and material properties are different properties—otherwise, a substance with mental properties would be a substance with material properties. But property dualism does not entail substance dualism. It could be that mental properties and material properties are different properties and yet a substance with mental properties is also a substance with material properties.
But the real distinction between mind and body and property dualism do not entail each other. It could be that mind and body are numerically distinct substances but mental and material properties are the same. For instance, it could be that mind and body are distinct because they have different properties: the mind has a property M that the body lacks, and the body has a property B that the mind lacks. This does not preclude that both M and B are both mental and material properties. So the real distinction between mind and body does not entail property dualism. Nor does property dualism entail the real distinction between mind and body. For even if mental and material properties are different properties, it can still be the case that the mind, which has mental properties, and the body, which has material properties, are the same substance."
(Gonzalo Rodriguez-Pereyra, pp.70-71)
Rodriguez-Pereyra, G. (2008). "Descartes's Substance Dualism and His Independence Conception of Substance". Journal of the History of Philosophy 46(1): 69–90.
Fig.1 Lucy Jones "Philosophy of the Mind Episode Two: Criticisms of Substance Dualism", YouTube.
"The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the 'artificial' and the 'organic'. It's an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns."
(Statements about Zimoun: Tim Beck http://www.zimoun.net/about.html)
"Created by Hyun Ju Song and Mi Lyoung Bae, The Moment is an exploration of language, how the meaning is formed from words. Hyun Ju Song describes a situation when people face an absurd situation in Korea, they say 'It makes no word.' This project is about the absurd moment and creates no word out of words."
(Filip Visnjic, 12/02/2014, CreativeApplications.Net)
Hyun Ju Song and Mi Lyoung Bae (2013). "The Moment", Concept, visual programming & performance by Song, Hyun Ju, Sound programming & performance by Bae, Mi Lyoung. A generative design work where the Latin alphabet is transformed into abstract geometry using 3-screen-projection, Processing and Max/MSP.