Welcome to ZUZO. ZUZO is a game.
In ZUZO there is no purpose, there is a MATRIX.
There are rules that define and condition the possibilities of action at each moment as in all games.
RULES IN ZUZO
NOES
Can we talk about Art in ZUZO? No!
Can we talk about Beauty in ZUZO? No!
Can we talk about Reason in ZUZO? No!
Can we talk about Taste in ZUZO? No!
Can we talk about Passion in ZUZO? No!
Can we talk about Desire in ZUZO? No!
Can we talk about Truth in ZUZO? No!
Can we talk about Timelessness in ZUZO? No!
YESES
Can we say that the 21st century is the century of the brain in ZUZO? Yes!
Can we highlight the importance of neurogenesis in ZUZO? Yes!
Can we say that the stimulation of existing or developing neuronal structures increases the density of these same connections in ZUZO? Yes!
Can we relate the density and speed of formation of new neuronal connections to age in ZUZO? Yes!
Can we speak of preferred neural structures in ZUZO? Yes!
Can we say that, to a large extent, the construction of these preferential networks is the result of stimulation and therefore use/training in ZUZO? Yes!
Can we say that the construction of this matrix of networks and neuronal structures determines the way we think and feel, conditioning our choices in ZUZO? Yes!
Can we say that we are largely responsible for the construction of this matrix in ZUZO? Yes!
Can we speak of plasticity of this matrix in ZUZO? Yes!
Can we alter that matrix during our life in ZUZO? Yes!
MAYBES
Can we alter the speed/density of creation of new neuronal connections regardless of age in ZUZO?
Not for the time being.
Can we prevent outside stimuli from conditioning/altering the construction of our own matrix in ZUZO?
Not for the time being.
Do we become inevitably linked to the time we build our basic neuronal matrix in ZUZO?
Yes for the time being.
Can we alter the fundamental mechanisms that Nature has endowed us with in order to ensure the survival of the individual or the species?
Not for the time being.
THE GAME BOARD
Each player, Body/Mind entity, once inserted in the Space/Time container, must observe the following aspects of what appears to him/her as reality.
The game container is Space/Time. The player is the Body/Mind entity.
Each player must play with his or her own matrix and permanently confront it with the matrix in which the game takes place.
Since in ZUZO the player is the body/mind unit, there is no difference between real and virtual, Real Space and Virtual Space, or between Real Time and Virtual Time.
In ZUZO there is no Architecture, there are Spatial Structures, real if experienced by the body, virtual if experienced by the mind.
In ZUZO there is no Music, there are Sound Structures, intentional if built for that purpose, unintentional if only perceived by the player.
In ZUZO, for each act of the game, two opposite directions are admitted. The player can create something intentionally (centrifugal movement, from inside to outside) or he can observe something and consider it from another perspective or in another context (centripetal movement, from outside to inside).
In ZUZO Dance and Drawing are understood as expressions of the body's movement in space.
In ZUZO, Time is a matter of work.
In ZUZO Space is a matter of work.
In ZUZO the dislocation of the body in relation to space or of space in relation to the body, are matters of work.
One must keep in mind that movement is always relative. There is nothing immobile in the universe. The player is a body on a planet that makes 14 different movements, rotates on itself at 1600Km/h (approx.), rotates around the sun at 107000Km/h, rotates around the center of the Galaxy at about 1000000Km/h, the Milky Way moves away from the other galaxies at 300000Km/s, etc...
In ZUZO the reading of patterns is a matter of work.
In ZUZO survival instincts are a matter of work.
In ZUZO consciousness is a matter of work.
OBJECTIVE
In ZUZO there is no objective, the game is played by the need to play.
Each player, when playing with his own matrix, will have differentiated objectives.
Each player should increase his own level of awareness of the rules of his own game to the limit of what is possible at each moment.
The ZUZO Matrix is not fixed, it is a sliding matrix that modifies itself at each moment when confronted with the alteration of the conditions of production of enunciates/images at each moment.
In ZUZO one must keep in mind that the stimulation of neuronal structures determines the morphogenesis of these same structures, "neurons who fire together wire together", an apparently simple mechanism, but which determines the specific world view of each matrix, the respective way of feeling, of understanding reality, of existing.
The process of interaction with the world depends on the stimulation of these structures, which in turn are continuously formed/modified by this same stimulation.
It's a circle, the activation of the system happens when the system is exposed to the stimuli for which it was designed/built, "wired".
The ecstatic experience happens when a large number of structures are activated simultaneously, triggering António Damasio's "flood wave".
CRITIQUE
In ZUZO a wandering freedom is claimed, the path is admittedly uncertain, faltering and non-linear, error is understood as useful, excessive rigor as something to be avoided, speculation as stimulating, however, one observes in ZUZO a gap between critical reflection and the practice carried out.
The work is anachronistic, it is old, there is no experimentation in line with contemporary critical thinking.
In ZUZO, the will to activate the deepest structures linked to the mechanisms of survival takes precedence over intellectual responsibility, ignoring the rapid unfolding of the most diverse disciplinary discourses.
In ZUZO there is no purpose, there is a MATRIX.
There are rules that define and condition the possibilities of action at each moment as in all games.
RULES IN ZUZO
NOES
Can we talk about Art in ZUZO? No!
Can we talk about Beauty in ZUZO? No!
Can we talk about Reason in ZUZO? No!
Can we talk about Taste in ZUZO? No!
Can we talk about Passion in ZUZO? No!
Can we talk about Desire in ZUZO? No!
Can we talk about Truth in ZUZO? No!
Can we talk about Timelessness in ZUZO? No!
YESES
Can we say that the 21st century is the century of the brain in ZUZO? Yes!
Can we highlight the importance of neurogenesis in ZUZO? Yes!
Can we say that the stimulation of existing or developing neuronal structures increases the density of these same connections in ZUZO? Yes!
Can we relate the density and speed of formation of new neuronal connections to age in ZUZO? Yes!
Can we speak of preferred neural structures in ZUZO? Yes!
Can we say that, to a large extent, the construction of these preferential networks is the result of stimulation and therefore use/training in ZUZO? Yes!
Can we say that the construction of this matrix of networks and neuronal structures determines the way we think and feel, conditioning our choices in ZUZO? Yes!
Can we say that we are largely responsible for the construction of this matrix in ZUZO? Yes!
Can we speak of plasticity of this matrix in ZUZO? Yes!
Can we alter that matrix during our life in ZUZO? Yes!
MAYBES
Can we alter the speed/density of creation of new neuronal connections regardless of age in ZUZO?
Not for the time being.
Can we prevent outside stimuli from conditioning/altering the construction of our own matrix in ZUZO?
Not for the time being.
Do we become inevitably linked to the time we build our basic neuronal matrix in ZUZO?
Yes for the time being.
Can we alter the fundamental mechanisms that Nature has endowed us with in order to ensure the survival of the individual or the species?
Not for the time being.
THE GAME BOARD
Each player, Body/Mind entity, once inserted in the Space/Time container, must observe the following aspects of what appears to him/her as reality.
The game container is Space/Time. The player is the Body/Mind entity.
Each player must play with his or her own matrix and permanently confront it with the matrix in which the game takes place.
Since in ZUZO the player is the body/mind unit, there is no difference between real and virtual, Real Space and Virtual Space, or between Real Time and Virtual Time.
In ZUZO there is no Architecture, there are Spatial Structures, real if experienced by the body, virtual if experienced by the mind.
In ZUZO there is no Music, there are Sound Structures, intentional if built for that purpose, unintentional if only perceived by the player.
In ZUZO, for each act of the game, two opposite directions are admitted. The player can create something intentionally (centrifugal movement, from inside to outside) or he can observe something and consider it from another perspective or in another context (centripetal movement, from outside to inside).
In ZUZO Dance and Drawing are understood as expressions of the body's movement in space.
In ZUZO, Time is a matter of work.
In ZUZO Space is a matter of work.
In ZUZO the dislocation of the body in relation to space or of space in relation to the body, are matters of work.
One must keep in mind that movement is always relative. There is nothing immobile in the universe. The player is a body on a planet that makes 14 different movements, rotates on itself at 1600Km/h (approx.), rotates around the sun at 107000Km/h, rotates around the center of the Galaxy at about 1000000Km/h, the Milky Way moves away from the other galaxies at 300000Km/s, etc...
In ZUZO the reading of patterns is a matter of work.
In ZUZO survival instincts are a matter of work.
In ZUZO consciousness is a matter of work.
OBJECTIVE
In ZUZO there is no objective, the game is played by the need to play.
Each player, when playing with his own matrix, will have differentiated objectives.
Each player should increase his own level of awareness of the rules of his own game to the limit of what is possible at each moment.
The ZUZO Matrix is not fixed, it is a sliding matrix that modifies itself at each moment when confronted with the alteration of the conditions of production of enunciates/images at each moment.
In ZUZO one must keep in mind that the stimulation of neuronal structures determines the morphogenesis of these same structures, "neurons who fire together wire together", an apparently simple mechanism, but which determines the specific world view of each matrix, the respective way of feeling, of understanding reality, of existing.
The process of interaction with the world depends on the stimulation of these structures, which in turn are continuously formed/modified by this same stimulation.
It's a circle, the activation of the system happens when the system is exposed to the stimuli for which it was designed/built, "wired".
The ecstatic experience happens when a large number of structures are activated simultaneously, triggering António Damasio's "flood wave".
CRITIQUE
In ZUZO a wandering freedom is claimed, the path is admittedly uncertain, faltering and non-linear, error is understood as useful, excessive rigor as something to be avoided, speculation as stimulating, however, one observes in ZUZO a gap between critical reflection and the practice carried out.
The work is anachronistic, it is old, there is no experimentation in line with contemporary critical thinking.
In ZUZO, the will to activate the deepest structures linked to the mechanisms of survival takes precedence over intellectual responsibility, ignoring the rapid unfolding of the most diverse disciplinary discourses.