Some of the more enjoyable surfaces (for example, the grain of a fine mahogany table top or a Japanese sword) have an interplay between pattern and texture which, though two-dimensional, suggests the unseen internal three-dimensional array.
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
I’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.
Even so, I think there are some general lessons that can be drawn from this demo:
Content is not inert
Visual texture lets content breathe
Visual texture lets the eye wander without losing itself
The world is the totality of facts, not of things.
The world is determined by the facts, and by these being all the facts.
For the totality of facts determines both what is the case, and also all that is not the case.
What we cannot think, that we cannot think: we cannot therefore say what we cannot think.
In fact what solipsism means is quite correct, only it cannot be said, but it shows itself.
That the world is my world, shows itself in the fact that the limits of that language (the language which I understand) mean the limits of my world.
I am my world. (The microcosm.)
The thinking, presenting subject; there is no such thing.
Hence also there can be no ethical propositions.
Propositions cannot express anything higher.
It is clear that ethics cannot be expressed.
Ethics is transcendental.
(Ethics and aesthetics are one.)
My propositions are elucidatory in this way: he who understands me finally recognizes them as senseless, when he has climbed out through them, on them, over them. (He must, so to speak, throw away the ladder, after he has climbed up on it.)
He must surmount these propositions; then he sees the world rightly.
Whereof one cannot speak, thereof one must be silent.