By Ira Livingston
Through modeling how you can imagine via chaos and during the mutual deformations of Romanticism and postmodernity, Arrow of Chaos contributes to replacement alignments of information throughout time and technique.
summary: by means of modeling how you can imagine via chaos and during the mutual deformations of Romanticism and postmodernity, Arrow of Chaos contributes to replacement alignments of information throughout time and strategy
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Additional resources for Arrow of chaos : romanticism and postmodernity
Based on a fixity or an equilibrium" (a clockwork universe) to a world of motors that "produce circulation by means of reservoirs and differences in temperature" — a change in which the perfectly reversible processes that oriented prethermodynamic temporality are displaced by a glacially irreversible "arrow of time" (Serres 1982, 71): thermodynamics relativizes and dynamicizes only a the cost of introducing this implacable directionality, just as the "absolute invariance" of the speed of light will come to anchor Einsteinian relativity.
A 1970 Scientific American article titled "How Snakes Move" (Cans 1972) identifies four types of snake motion: lateral undulation, rectilinear locomotion, concertina progression, and sidewinding. However, "these categories are somewhat artificial. Most species of snakes can move in more than one of these patterns; indeed, a snake moves in more than one pattern at a time" (40). Curiously, although the categories may be "somewhat artificial," their slippage against and into each other seems to reproduce the movement of the snake quite rigorously.
This reversal is similar to the maneuver by which Barthes found or founded the condition of intertextuality, whereby texts only exist at all through 16,7 7 their participation in an intertextual matrix that precedes them and from which they can never be extricated (see Barthes 1977, 160). , the use of a single word may be implicated in its multiple meanings in several disciplines, each of which may mutate or grow apart or drop out or fuse). Like anything else that signifies, a text is always a destroyed/indestructible quasi-abject quasi object, a shifting cleavage of cleavages together and apart.