DOCUMENTO
LEONARDO DA VINCI
i˙smaiL saray
Data storage operation encompassing the present time: the visual per-
ception of certain tasks and various materials, the process of recalling
or remembering them, becomes easier under certain conditions.
Naturalmente, the stability of the many types of visual perception and
memory-making are closely related to their full reception. Anyone
can criticize the necessity of remembering the data storage operation
encompassing the present time. Recordando, conceptually (el
appearance of ideas as form in the mind), encompasses the past and
part of the present of the data. The necessity of the data storage opera-
ción, which brings together the process of recording the data of the past
with the process of perceiving the present, is evident. A person report-
edly saw an exhibition at time A1, and knows that it has a particular
alcance. The same person fi nds out at time A2 that this exhibition is a
painting and sculpture exhibition. The same person knows that at one
time he perceived this painting and sculpture exhibition. At time A3,
this person has completely forgotten the scope of this exhibition that
he saw at time A1. At time A4, the same person fi nds out that this paint-
ing and sculpture exhibition is a fi ne arts exhibition organized by the
Ministry of Culture. By remembering that he saw a painting and sculp-
ture exhibition at one time, he determines that he saw the Ministry of
Culture’s fi ne arts exhibition. At a certain time A5, this person com-
pletely forgets that this painting and sculpture exhibition is the fi ne
126
© 2014 arTmargins and the massachusetts institute of Technology
doi:10.1162/arTm_r_00098
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arts exhibition of the Ministry of Culture; En realidad, he forgets that the
Ministry of Culture even organized an exhibition pertaining to the fi ne
letras. Even though this is the case, this person can still tell us that at
one time he saw the Ministry of Culture fi ne arts exhibition; sin embargo
he cannot show us his prior observations by relying upon an explana-
tion of his real experiential perception. This person can potentially con-
vince us that he remembers seeing the Ministry of Culture’s fi ne arts
exhibition at time A5, according to a certain linking of existing data.
The data that this person possesses start at time A1, extend beyond
time A2, pero, never having reached time A3, these data cannot surpass
time A3. But he reinforces the previous data from time A2 to time A4 to
ensure their continuity in memory. The data stored in memory time A4
gain further clarity and extend until time A5. This way, this person is
able to say clearly and defi nitely that he saw the Ministry of Culture’s
fi ne arts exhibition. The act of remembering, which comprises a heap
of the works surrounding the artist and the basic information that will
strengthen the meaning of the works, is carried out through data stor-
age processes and memory tracking. From the moment we discern the
impossibility of a full collaboration (and life itself is a way of discerning
este), the primary unobjectionable thing is the right of others to live
también. This structure provides us with such a possibility to consider
death as a differentiation that it pushes us toward the situation (collabo-
ration) that we hope to avoid. Opposition stems from the surging irra-
tional behavior and the emergence of incomparable injustice to the
point of public visibility. It is conspicuous that the act of opposition
takes its legal justifi cation from itself, because it has no other support.
Como consecuencia, it has to allow for the possibility of self-observation in
order to determine the course of action. Humankind is the only living
being that opposes its own existence—and therefore we have to deter-
mine that this process of selection will eventually eradicate oneself and
otros. This person immediately confi rms this [punto] when he enters
a thought process with regard to his own benefi t. This person not only
rebels against the lawless misuse of his own rights but also of his own
refl ection, of his true and sincere commitment. He strongly opposes
the preservation of standard values that were abused to the point of rid-
icule. In the face of these unlawful situations that cause him to lose all
hope and affect his physical-social existence, he chooses silence. Este
person’s resort to silence is to prove that he does not hold any a priori
opinions, any individual ego, and on some occasions to illustrate that
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he truly does not possess any sensory proclivity. Our acts should be
directed solely toward determining courses for the future and toward
analyzing and supporting sides. Para esto, the individual person should
never judge the thoughts and feelings of others through his own, pero
should gain the support of every social group. Once the individual
begins to resist, he sees himself apart from the others; from this
moment on, the synthesis that necessarily arises from the groups’
common interests takes on a metaphysical scope. What we are stress-
ing now, this obligatory combination rising from the common interests
of groups, is chained to the physical-social environment. This explana-
tion is passed on as applicable to metaphysical resistance. By attacking
the fractured structure, the individual forces the structure to complete
sí mismo. En este caso, he opposes the unlawful social-physical practices
using his own methods of equality. He will want to resolve differences,
to administer lawful governance, or even to establish a structure that
would take unlawfulness into its own hands. If this individual does
not accept his own mortality, he refuses to recognize instantly and to
locate this force that temporarily makes him live in this condition. Este
refusal presents the two forces that manifest themselves in alternative
maneras. Aquí, in the time that spans this condition, they attempt to
destroy each other. And this lasts until one of the forces temporarily
withdraws. If metaphysics continuously places this being—whom it
has targeted with oppositional insistence—against the instantly intu-
ited power, it accepts the presence of the oppositional force after having
bombarded this being with questions. And afterward, the individual
drags this superior power whose presence is always felt into an adven-
ture in which its reach and durability will diminish or disappear. En
this way, this power is pushed into the same passivity that it inflicted
on us. This person directs this power generated by our exclusion to the
inexorable side of the human being, associating it forcefully with our
existence, to which we react with astonishment and indecision. Por último,
this person vigorously extracts this power from the protection of the
present time and pushes it to concern itself with assessments of the
pasado. The individual in the soil pit stays neither happy nor complacent
and silent. We shall want to live, we shall live, and then we shall love.
“Even if we do not know why we love.” But living also means acting.
But acting for whom? If there is no negativity, there is neither blaming
and appraising, nor evaluation, and I am only synthesizing my sad per-
ceptions that implicate us, mí mismo, and all of us. Everything is for inde-
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pendence; everything is for meeting again in equality after we depart
from this world. If goodness, completeness, and talent that can achieve
results do not exist, neither does law. Everything should be carried out
in the open in order to achieve freedom. Art is composed of the totality
of such continuous behavior; it generates within itself praise, resis-
tance, and exclusion. No artist will allow for a regulated idealism. Incluso
though this is the case, no artist can ignore the reality we are sur-
rounded with. Those who say that beauty is more important than the
world are reformists who embrace principles of right and wrong and
glorify beauty; this way they turn a blind eye to the destruction of
nature by social constructs. Following from this, members of social
groups have to carry the weight of experimentalism in life. In this way,
art can take its place within society in the shape of socialist pragma-
tismo. Nihilists have determined the critique of this separatism as their
aim. The installing of pragmatist values instead of theorized, passé aes-
thetic values, the necessity of views such as “I would rather be a shoe-
maker than Raphael,” “I prefer a piece of cheese to all of Pushkin,"
attempted to pave the way for this new pragmatic aestheticism. El
peak of mechanization and functional superiority led pragmatic aes-
theticism to push away the theorized aesthetic values of the past and
created a new aesthetic action. This illustrates that in our time, prag-
matic aesthetics determined a place for itself. From now on, beauty will
not be imagined but lived; art cannot exist throughout time, it is deter-
mined by its own time and scope of expression. The unique values of
the ruling class set art against wrong evaluations. Reaching a new
understanding of beauty without the support of history is possible
through counter-rationalist behavior that repeats the past with art. En
this way, history will morph into complete beauty by its total transfor-
formación. The conviction (how is it possible that beauty as it was created
by the Greeks is still viable?) is gaining strength. The presentation of
the artist of our time’s decision of awareness as an exhibition looks like
a big old patch. The final sensitivity in the artist’s perception is the rep-
etition of an already attempted [sense of] sadness and remorse. Estos
objects that belong to the aesthetic values of the past do not satisfy us,
as they are removed from visual life; those immutable values developed
over a long time, which are vital to perception, are forbidden, extraído,
and ostracized. In our day, we are aware that artworks, away from the
true public, hiccup in cold museum rooms. In order for the opposition
to be effective against the abstraction that comes toward the end of
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I˙smail Saray. Leonardo da Vinci, 1975. Artist’s book. Image courtesy of SALT. Photograph by Mustafa Hazneci.
artistic movements, and to suggest new rules of beauty, it has to
counter the unequivocally accepted truth, the presentation of work
(painting-graphics-sculpture) and only dignify certain aspects of it.
In the debate over realism in the arts, there is a comparison; the bulg-
ing of theoretical proposals and their orienting themselves to action
requires a dialectical axiom. The essential values supported by the
truth in art cannot be hidden; artistic realism is composed of life,
trabajar, estudiar, práctica, comparación, and debate.
Tr anslaTed by duygu demi˙r
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