By Foley A.L.
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Extra info for A Photographic Method of Finding the Instantaneous Velocity of Sound Waves at Points Near the Source
James uses the simple example of describing a building to a skeptical friend (James 1996a, 54–56). There is nothing you can say that can verify your description. There is no sure way for your friend to know that you’re not being inaccurate or deceitful unless you walk together to the building and you point out convergences between what you had said and what you both are now experiencing. The truth of the experience is the fulfilled expectation. So far, it’s all pretty pedestrian. But for James, the demonstrative pointing-out is less an external referencing of an object by a subject than an indexing of two subjects to the same phase in the “ambulatory” movement.
The world is self-supporting in the sense that it feeds on its own momentum, folding its movement around on itself, always “additively” (James 1996a, 110), the end of every roll a return to the beginning, only more so: further on, spinning off virtual subjects and objects, like flakes in its actual wake. Everything in the world of experience is contained in this self-augmenting movement. There is no opposition or contradiction, only the productive paradox of a self-contained becoming. A becoming-more and -many through the same momentum: many-more one-ward.
Or when it disseminates, as it does when the work is networked, so that the interaction is distributed in time and space and never ties back together in one particular form? To begin with, you have to get past the idea that form is ever fixed, that there is any such thing as a stable form—even in traditional aesthetic practices like figurative painting, or even in something as mundane as decorative motif. The idea that there is such a thing as fixed form is actually as much an assumption about perception as it is an assumption about art.