Re: [NetBehaviour] funding opportunities
Just to add to Simon's excellent summary, I have it from an excellent source that the AHRC budget is just about to be cut by 50%. Frankly you're better off buying a lottery ticket. Grim days. --- On Tue, 23/11/10, dave miller dave.miller...@gmail.com wrote: From: dave miller dave.miller...@gmail.com Subject: Re: [NetBehaviour] funding opportunities To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Tuesday, 23 November, 2010, 21:07 thanks for the helpful info Simon, that's very useful - I think the Creative Arts Fellowship programme was the one dave On 23 November 2010 17:39, Simon Biggs s.bi...@eca.ac.uk wrote: The key thing you need to know is that the AHRC only funds research (which can include practice based work) undertaken by permanent employees of recognised research institutions (Universities, other HEI's and some national museums and research institutes). Artists cannot apply. For art projects you go to your regional arts council. What artists can do is develop something like a Fellowship proposal with somebody who is employed in a University. These can be for up to 9 months. They require the proposed fellow, who will be hosted by the institution, has a PhD or experience equivalent to that (this is undefined but usually means something like 6 years professional experience with a track record of exhibitions, publications and conference presentations). An early career fellowship allows those with less experience (but still of post-doc standing) to apply for similar funds - but then these fellows have a mentor. There use to be a Creative Arts Fellowship programme but that was discontinued last year. Bummer. It was a brilliant programme and probably the one you have been told about. Best Simon Simon Biggs s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk http://www.littlepig.org.uk/ Research Professor edinburgh college of art http://www.eca.ac.uk/ Creative Interdisciplinary Research in CoLlaborative Environments http://www.eca.ac.uk/circle/ Electronic Literature as a Model of Creativity and Innovation in Practice http://www.elmcip.net/ Centre for Film, Performance and Media Arts http://www.ed.ac.uk/schools-departments/film-performance-media-arts From: dave miller dave.miller...@gmail.com Reply-To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Tue, 23 Nov 2010 17:01:22 + To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Subject: [NetBehaviour] funding opportunities The other day someone told me about the AHRC and that they have grants for digital art. It struck me that this could be a solution to my problem of doing part-time jobs to make ends meet, which leaves me tired and without enough time for creative work. To get funding to concentrate on creative work sounds perfect. Or is it? Seems to me the funding gives you credibility as well as money. Here's the AHRC website: http://www.ahrc.ac.uk/FundingOpportunities/Pages/default.aspx Does anyone on this list have experience of doing this? Is it very difficult to get funding? Do you have to be very established? cheers, dave ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The first radiation porn star!
There's no subscription information for TSA. ;) Best Simon Simon Biggs s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk http://www.littlepig.org.uk/ Research Professor edinburgh college of art http://www.eca.ac.uk/ Creative Interdisciplinary Research in CoLlaborative Environments http://www.eca.ac.uk/circle/ Electronic Literature as a Model of Creativity and Innovation in Practice http://www.elmcip.net/ Centre for Film, Performance and Media Arts http://www.ed.ac.uk/schools-departments/film-performance-media-arts From: John Wild john.w...@network.rca.ac.uk Reply-To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Tue, 23 Nov 2010 22:21:58 + To: netbehaviour@netbehaviour.org Subject: [NetBehaviour] The first radiation porn star! In 2006 I created a number of artworks exploring how states view their citizens in the post 9/11 climate. In OTerminal 4http://www.rupture.co.uk/Terminal%204.html¹, an A2 duratrans mounted on a light box, and OSelf Portrait using Backscatter Radiation http://www.rupture.co.uk/Self_portrait.html¹, a 78²x 48² Digital C-Type Print, I gained unique access to the images created by the controversial Rapiscan Secure 1000 security scannerhttp://www.rapiscansystems.com/rapiscan-secure-1000.htmlcurrently in use at Heathrow and across America. The Scanner creates security images of travellers through a process known as backscatter radiation, an image is produced by firing a low level of radiation at the traveller and analyzing the radiation that is bounced back. Radiation penetrates below the clothing and is reflected from the skin (or bones that are close to the surface) allowing a computer to generate an image of the bodies¹ surface. Since 2006 I have been inundated with requests to use the Terminal 4 image, particularly from campaigners against airport scanners in the USA and it has become one of the main image of the NATIONAL OPT-OUT DAY!http://www.optoutday.com/organised for Wednesday, November 24th 2010. However the popularity of the image with campaign groups has led to my images attracting a different audience.I have started receiving emails asking whether I can supply more backscatter radiation images and a google search brought up my image on the front cover of the dubious looking TSA Scans Magazine http://www.tsascansmag.com/. One email I received from a New York fetish club claims that my image is so popular with their members that they would be prepared to pay a decent price for more XXX-Radiation Porn! It seems that what started out as an esoteric artwork created in 2006 may have inadvertently turned me into the first radiation porn star! -- // johnwild.info // ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] funding opportunities
The AHRC is to be cut. But the drop in available funding will not be 50%. Much of the cut will be in back-office activities. The AHRC recently moved from Bristol to Swindon, where most of the other research councils are based. The objective was to save money by integrating administration and support across councils. In reality the move has cost far more than expected. However, going forward such costs will be lower. Also, with programmes being streamlined (cut, like the creative arts fellowship programme), fewer project officers and administrators are required. I'm not sure what the actual cut will be to funding streams but it will be significantly less than 50%. I am upset they cut the creative arts fellowship programme though. It was hugely successful and, for independent artists, a great route into the rich and diverse research cultures that exist in UK academia. For many it was the only route. There are a number of really significant artists, in the digital arts but across all disciplines, who found their way into rewarding roles at various research labs and facilities. Some of them have sustained working practices in these contexts well beyond the period of the grants (usually 3 years) and have become permanent staff. This route is now gone and nothing has effectively replaced it. The strangest thing is that the AHRC has stated that the reason they closed the programme is that it was so successful. That begs the question whether they only sustain unsuccessful programmes. I don't want to be critical of the AHRC. I work closely with them - indeed, I'm on some of their committees. But sometimes they make the strangest decisions. The most likely reason they would choose to cut the creative arts fellowships programme is that certain academic interests (eg: the humanities, as opposed to the creative arts) considered the programme too generous to unconventional researchers (eg: non-academics). As somebody who did not go through the academy but has, later in life, found benefit through it, I think this represents a narrow and conservative conception of what research and pedagogy is for and what it can do. Best Simon Simon Biggs s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk http://www.littlepig.org.uk/ Research Professor edinburgh college of art http://www.eca.ac.uk/ Creative Interdisciplinary Research in CoLlaborative Environments http://www.eca.ac.uk/circle/ Electronic Literature as a Model of Creativity and Innovation in Practice http://www.elmcip.net/ Centre for Film, Performance and Media Arts http://www.ed.ac.uk/schools-departments/film-performance-media-arts From: TOM CORBY tom.co...@btinternet.com Reply-To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Wed, 24 Nov 2010 08:20:07 + (GMT) To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] funding opportunities Just to add to Simon's excellent summary, I have it from an excellent source that the AHRC budget is just about to be cut by 50%. Frankly you're better off buying a lottery ticket. Grim days. --- On Tue, 23/11/10, dave miller dave.miller...@gmail.com wrote: From: dave miller dave.miller...@gmail.com Subject: Re: [NetBehaviour] funding opportunities To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Tuesday, 23 November, 2010, 21:07 thanks for the helpful info Simon, that's very useful - I think the Creative Arts Fellowship programme was the one dave On 23 November 2010 17:39, Simon Biggs s.bi...@eca.ac.uk wrote: The key thing you need to know is that the AHRC only funds research (which can include practice based work) undertaken by permanent employees of recognised research institutions (Universities, other HEI's and some national museums and research institutes). Artists cannot apply. For art projects you go to your regional arts council. What artists can do is develop something like a Fellowship proposal with somebody who is employed in a University. These can be for up to 9 months. They require the proposed fellow, who will be hosted by the institution, has a PhD or experience equivalent to that (this is undefined but usually means something like 6 years professional experience with a track record of exhibitions, publications and conference presentations). An early career fellowship allows those with less experience (but still of post-doc standing) to apply for similar funds - but then these fellows have a mentor. There use to be a Creative Arts Fellowship programme but that was discontinued last year. Bummer. It was a brilliant programme and probably the one you have been told about. Best Simon Simon Biggs s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk http://www.littlepig.org.uk/ Research Professor edinburgh college of art http://www.eca.ac.uk/ Creative Interdisciplinary Research in
[NetBehaviour] JELLY Thursdays @ SPACE Studios
Casual, open co-working space every Thursday for artists, freelancers and anyone in need of a place to work. Come and join us in the MediaLab for co-working bliss and a 3pm coffee and catch up. Tomorrow there will be cupcakes!! What is Jelly? Jelly are casual, co-working events happening in cities across the world. Turn up, log-in, create, collaborate or work solo. Its open-source living sharing bandwidth, ideas and elbow room. Thursdays at SPACE are Jelly days. We provide the space, the wifi, the desks and at 3pm coffee, cake, cookies and conversation. You only need to bring your laptop and your ideas. Jelly is open every Thursday from 10am to 6pm and is FREE. Although booking is not essential we want to make sure we have room for you all so please register via our website. http://www.spacestudios.org.uk/whats-on/events/jelly There will be an informal opportunity to introduce projects and all from designers, developers, writers, artists are welcome. See you Tomorrow! [ s p a c e ] 129-131 Mare Street London E8 3RH http://www.spacestudios.org.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Furtherfield on Resonance FM Tonight.
Furtherfield on Resonance FM Tonight. Join us on Resonance 104.4FM Wednesday, Nov 24th 2010. Time 7-8pm (UK - GMT). Hosts: Marc Garrett, Irini Papdimitriou Jonathon Munro Special Guests: Dr. Richard Barbrook Fabian Tompsett, Tine Bech Info downloads of past broadcasts (scroll down page): http://www.furtherfield.org/resonancefm.php Live Resonance FM broadcast: http://resonancefm.com This critically acclaimed broadcast is every Wednesday evening at 7-8pm, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology social change; discussing events and controversies, exhibitions, artworks and their social contexts. Until Mid-December, regular host Marc Garrett is joined by Irini Papadimitriou Jonathon Munro. Marc will be interviewing: Dr. Richard Barbrook Fabian Tompsett, will be discussing about their collaborative group Class Wargames their current project 'The Game of War'. Guy Debord, strategist of the Situationist International, developed the game while in exile after the May '68 Revolution, and came to regard it as his most important project. For Debord, The Game of War wasn't just a game. The Game of War is a Clausewitz simulator: a Napoleonic-era military strategy game where armies must maintain their communications structure to survive - and where victory is achieved by smashing your opponent's supply network rather than by taking their pieces. http://www.classwargames.net Irini Jonathan will be interviewing: Tine Bech, a visual artist and researcher who works with interactive installations and public art. She was born in Denmark and now lives and works in London. Her practice is concerned with how we engage with our immediate environment. Projects have centred on the use of interactive electronics and location tracking technology, urban spaces and environmental elements such as gravity, water, sound and light to develop spaces where participations, play, and experiences of immersion take place. http://www.tinebech.com/ Also showcasing music and noise, providing a rolling lineup of experimental creative adventures for your amusement. http://www.furtherfield.org http://resonancefm.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Mapping Consciousness vs year
Mapping Consciousness vs year AA 2008 http://burgerwaanzin.nl/images/2610.jpg notice the decline, and the influences of WW 1 WW 2 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Censored censored Chinese news
It is an open secret, the Chinese government censors as much information as possible. I have no idea why they do that!?! But I think they are not accurat enough. So I put my censorship on top of the official Chinese censorship. http://kaubonschen.com/cccn/ Kim Asendorf www.kimasendorf.com twitter.com/kimasendorf___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] the rounds of sleeping loving
the rounds of sleeping loving http://www.alansondheim.org/paradise3.png http://www.alansondheim.org/paradise5.png http://www.alansondheim.org/paradise6.png the rounds of figuring it out http://www.alansondheim.org/figuringitout.mp4 http://www.alansondheim.org/b-ride.mp4 thanks to Fau Ferdinand ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Millie Niss - City Bird
this is a fantastic book, which I unreservedly recommend. It really brings home the full range depth of Millie's poetic work. It's also beautifully put together by Martha... michael --- On Tue, 11/23/10, Martha Deed mld...@verizon.net wrote: From: Martha Deed mld...@verizon.net Subject: [NetBehaviour] Millie Niss - City Bird To: NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org Date: Tuesday, November 23, 2010, 4:26 PM Dear Friends-- Just a note to let you know that BlazeVox has put out a collection of Millie Niss's poetry -- City Bird: Selected Poems (1991-2009). Edward Picot has commented on the book: Millie Niss was probably best known as a blogger, video-maker and new media artist, but this collection – compiled by her mother and long-time collaborator, Martha Deed – demonstrates that she wrote poetry of great originality and inventiveness both before and during her new media career. She died in 2009, at the age of 36, and struggled with the effects of Behcet's disease for many years before that: yet the overwhelming impression left by this collection is one of vigour and high spirits. It's one of the few books of poetry I can call to mind without a dull page in it. It also consistently manages to combine experimentalism with entertainment. There is a wide range of styles – from mock-epic to prose poetry to picture poems – but Millie's personality suffuses them all: outspoken, politically radical, satirical, rude and funny; quirky, sometimes whimsical, sometimes wildly digressive; yet always down to earth and sharply observant. And so has Regina Pinto, who was often Millie's collaborator: I’ve known Millie Niss since 2001, and she was one of the most intelligent and interesting people I have ever met. I enjoyed the enthusiasm and seriousness with which she made poetry, and, in particular, electronic poetry. All of her work expresses her intelligence, deep sense of humor, and humanity. “City Bird” will make readers think and ask for more. For further information, see Millie's page in the BlazeVox catalog: http://www.blazevox.org/bk-mn.htm or my post today, which includes some excerpts of Millie's writing, on the Sporkworld microblog: http://sporkworld.tumblr.com/ City Bird is available from me, the publisher and amazon.com. Amazon (the U.S. version) is probably the easiest way to order for people living outside of the United States. Thanks. Martha Deed (who edited and designed the book) -- The Lost Shoe http://www.chapbookpublisher.com/shop.html The Lost Shoe video http://www.sporkworld.org/Deed/lostshoe.mov this is visual poetry by Millie Niss (27 March 2010 release) this is visual poetry by Martha Deed (24 August 2010 release) http://thisisvisualpoetry.com Heat and 500 Favourite Words (Released July 2010) http://chapbookpublisher.com/tiny-shop.html ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] [Awareness Datagram] Mapping Consciousness vs year (explanation)
FYI 'We' should learn from history, but unfortunately only a few actually do So the metrics are positioned with a decline in consciousness, roughly inverse proportional to the suffering, visible by the peaks during ww1 ww2 and go steadily downwards in the years thereafter This serves as a kind of 'Awareness Datagram' Translating visual randomness to political randomness More in the making http://burgerwaanzin.nl/images/2610.jpg http://www.nictoglobe.com/new/home/socinwef2.gif Andreas Maria Jacobs w: http://www.nictoglobe.com w: http://burgerwaanzin.nl ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Livecoding at Goldsmiths Thursday Club, London, Dec 16th
Flyer: http://toplap.org/media/thursday.pdf Goldsmiths Thursday Club Xmas party - Live coded Thursday 16th December 2010 6:30pm sharp til 8:30pm Goldsmiths Digital Studios, Ben Pimlott Building, Goldsmiths, London Nearest tube: New Cross Gate or New Cross Live coding is a new direction in electronic music and video, and is starting to get somewhere interesting. Live coders expose and rewire the innards of software while it generates improvised music and/or visuals. All code manipulation is projected for your pleasure. Featuring: slub - Slub celebrate a decade since they first got a whole room of people to dance to their code (at Amsterdam Paradiso), with a hard-edged set of abstract acid with extra breakdowns. [ http://slub.org/ ] Wrongheaded - Conducting an algorithmic seance, where a ouiji board control interface issues instructions from beyond the grave. Dimly lit but for the flickering of gas-driven projector screens, the protagonists will be appropriately moustachioed as they bring you ethereal sounds from the underworld. Thor Magnusson - Shaking, self-modified beats with ixilang, from the co-founder of ixi audio. [ http://www.ixi-audio.net/ ] Michele Pasin - Audio/Visual temporal recursion with Impromptu. [ http://www.michelepasin.org/ ] Forth + Yee-King - South Bank Common Lisp + SuperCollider synchronised in percussive improv. [ http://www.yeeking.net/ ] Live coding is inclusive and accessible to all. Many live coding environments can be downloaded and used for free, with documentation and examples to get you started and friendly on-line communities to help when you get problems. Popular live coding software includes supercollider, ChucK, impromptu and fluxus. Live patching is live coding with graph-based languages such as the venerable pure-data. It's also possible to livecode with a gamepad, e.g. with the robot oriented Al-Jazari. For more info see: http://toplap.org/uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] FIRST AND SECOND (Maria Damon and Alan Sondheim)
FIRST AND SECOND Maria Damon and Alan Sondheim (We spent a day making work; there are six pieces, two sets of three. The text-based FIRST AND SECOND and SECOND AND FIRST use ytalk and other commands; FIRST AND SECOND follows, and SECOND AND FIRST will follow shortly. The second set, to be posted tomorrow, uses Maria's voice and text, and my violin/viola, and pipa. The third set, to be posted the following day, uses Second Life. Enjoy!) ing for connection...] ## talk Error Connection from unexpected host! # ## ## talk Error Connection from unexpected host! # ## lan! O 've got the Zie iel tou Mari Maria n the T bet n tr idion e n ame f charac er in Godard or sh on!uld be. For examp e ou i might l ow e ineage f easantry i In p In pa r ea ll y c a m am m a H a pea hu aso s a n t, o , on one si e nyway ef r right side? or me, it's in the ble r ish n orkable ar er ide, Lit ak, not peason antry but busie ness folks. em le emi y d and b ns l o u r s a fa e o l r i ma lap l p WO w to s nts ate s for examples mall c is an nves c ca nt in c o c cap a c n nt meth n tto ping topping some hi g e s s st pg is a cap and thr bells. cats, blocking mice in bleared unworkabl a ats e lls an aps will never catch mice. Mice are t r l a le g les i c , c o ur se h s a ar are r e c co com o mid ida dal i rni g, ice a e com e s t ib ombar t t r y h hou e houl n tice r r he text begins to rise ic ice e top s in r r Par Franm ce, ot o omet these spaces ap ea die orea , typing above nd be 4r r ow r r he text o ometi i s as sus sion br ng t e top p wiht r al s hil ting to e su e k r r t a e alc ott alco 4r r bottom 4r r r r ometimes a text is r ra ras l rash o w a rs ext, a bl nk d t s r ttoms, submerge er br w r r r ut ut ut if 4r r t o e ov x ove t i s eally j t s h e s en n what of o h t len if ig r is u ci r r cigar, e n w h t a t h mo e ncer, an rps fa ure s the b ody dy 4r r s sub s erged e s o at ises 4r r he body of r r the text o oo ool oole p s c e s eems N c a con a c ion n terms, t ar y mice 4r r H rough n n it r r ou u ouc th ouch , the mouth of the tex r r 4r r hould noti c o e ool 4r r side, in s ts d i h p a c e s , uth, cl i g the ound f n ge e r r w ust sound s too et w c r r o oo 4r r oo pretentiou t s t's r r 's o oo oo i oo f e ha rdn e s p s h i l o s o i hardness r r 4r r n all directions, cl o oo t in ic n a , n o t rection t a 4r r e sil o oo i g r f langua e n s iou s, r r Kore orea e n ci ou n g the 4r r outh, what n o o, it's p r r hysical, a t ad as d a e t u x e e s lotting and the r r b bs bso bsor , he h 4r r e b app lo o g and the b n t ra ap pp h a n d th the he cau ng t 4r r e, 1/ he p n s e and th in, what does tha r r that say about the body's surging r r ilence of the North esp esponse 4r r to 4r r surgi g u ur nd urge e en s e a r g e he y, r r r g r r eant t's her , I th ink ge i a woo onders o w 4r r ys wondering t ta or tan t h e s t minute 4r r H after r r die, what will Azure see, where will she turn r r e all h ve d th do e se thi ng a r rs illed n y k c a i o f 4r r ise do thing abou my at 4r r ad l ll , r d t o d o s r r g gh gha ghas y will 4r r r r the her r erise r r y is r you a c e b oo k a i'm good to g r r , as they say 4r r H want to remai n a cr as aming, h red, o i f u s he last glu 4r r n releases the last q r r quark and the last prot 4r r s ecay t the end of s st-ce n s for h s r r the paws that patter out the typ e 4r r emain and find ou l li lik i s t en e t he e w s 4r r ogetherness but r r epa e t et etrah s n 4r r s of ha e e a ve 4r r g ou r r tha e e ab e or yo th u tho ow o o w elow 4r r H above 4r r e above ou r r r b r y e r yo l o ove and me be 4r r ow e eve eeting oth of us b l a ro r r s s r r r bo b i o v e, too 4r r uch Dante in the i r r ransfixed acr thrwa ward t the page 4r r he speed of typing is the depth of 4r r ho ha hat go l ui u e on? 4r r r r arti o oo o f t e he p ar a n d or i qu o eth 4r r r ust he r ig h t eu a r ton r r protons rela t i vely t e in th ri at m 4r r n oratoria r r H o of persuasion 4r r he speed of thought is the death of typing - And r r r r y h thought smove s move slowly and jubl mbledly 4r r u bi y il y la y t ati y th n ugh t is s in t ia y 4r r ine are jumbled likee the e w wi w h e n e il v e er e ' ng f 4r r a r r frames 4r r breaking d e d dt dtet dt d e d de s det r ering t s s r or ri g e e erything eve t m r e s e s mp g t nth r r r m i it ite 4r r n a man r r script ub ubi ubil at' n s is in te ets, in a ma a script as d ted as the four heenth ce l s r r r n spa ast month's milk r r arton 4r r nd then so m h e ho 4r r ho went out with last month's milk carton ru d rum dn' k t o an d at c a lar r r ons 4r r r r m a r ma ar d a i dn' t go ; ut, actually jus rem l ine la lar n me i g a d s urn n ool ets and
[NetBehaviour] SECOND AND FIRST (Maria Damon and Alan Sondheim)
SECOND AND FIRST Maria Damon and Alan Sondheim a re nish d . un workable ar O e t a her s side, Lit . vak, not peason antry but busie ness folks. F hem le mi lea is lear str e y d and t u b rns l s to u tow r towa r owar e wards d , a fan t a mol s ole i lec a ecu cular o i f n sma malap small r c o ap p s s , a nd h TWO M o , l a h d ow to j m us i t x me nts wat . ers f for examples S . Small ca p is an A inves A t A c m A ca ent in A c t A y po a c g a ca r p a ph is y w o h f a t a o c cc e u r r t s ai n on k to in d someth . in . g . stt opping topping som A et A hing A s els A st e A stopg ap is a cap and thr bells. on cats, blocking mice in bleared unworkab l a e ats i a n re be as lls an caps will never catch mice. Mice are u t un ra unle gi ss c, of c a c ts ou rse a t h r e e pr c o m i d a l s is is a ca s a l a w . a warn ing, M N Mice are K com o e r s e t a ib ' l s e , bombar c d ats me nt are , e co v m er b yo u n s e t i sh b l shou e l . d r r notice the text begins to ris N e Ni t Nic o Nice t he top is in r r Par Franm ce, s not so K somet o i re m a es these spaces a pear a s b odie Korea s, typing above . and b r r elow r r The text s so somet i i me s s as sus sp pe ension br b i u d b g bl e ing t dges o t s, he top wiht i c a e l l or t oth othe r w is j e , whil c e o n al n l e cting N it i s c e to t M re a asure l s t a s ' in s k t r r f o t fa he falc botto o r r bottom r r r r Sometimes a text is c r cr ea cra ll crash y e o d n l t y o w a a rs text, a bl ank d et s fo b r ottoms, submerge cer d ebr , a l w r r ar b m but t h if r r a c co te cov x cove t cover in i g s really j th us e t se n a se s te x l t i , k t e h en what of w o t o ha l t len , if a ci gar is l j e u n s t a ci r r cigar, la th c e e n th w at h at t o r f a t s he p s moke , c ancer, p s man a p tur s ure the b ody r r ' ba 's n sub 's merged 's o en 's own t er he p at rises r r the body of r r the text wo woo t wool r e ap n s its la o c w e n s t eem h s, N i ce hea , t a co n t di iction in terms, n e at h e ear n t by mice r r , rough i in t in o in i in it t s h e m r r t o to u tou t touc h h , the mouth of the text r r r r should noti w c wo e wool r r inside, in i s its i its o p w i n d w s i p th a in c e t s he , m outh, cl i o t t ' ti s ng the wound t s of a l b an o g ve uage nes , s b a u n t d t b ha l t o r r w just soun d s too e p l oe o t w i n c r r e t s to s too r r too pretentio i u it s it's r r d t its its its die ha r dn x e s p s h a i n l d o it s s o phi bl c owhardness r r r r in all directions, c t l to o too t too tti too p ng oe , ti c in , a l n l o d t irectio n at a s ll , t r r he si t l to e too n too cin too p g r e of langua t g e e n , s N iou s, K r r Kore p a a s s il d e u n ci tout ng the r r south, what n n no ow no, it's p r r hysical, p n pa ot pad a d b e s s t r d a e ct u , x the e s clotting and the r r a st ab o abso p r p b in s g , t t he h r r e ca b capp l cappi o ng o and blood the bl ee d i n g , t h e t rap p in g an d the l caul i ing tt r r le, / the the r h es e p m on o se g and th l e obin, what does th r r that say about the body's surging r r silence of the North resp . onse r r t r r o surgi S ng Su Sur an Surg d Surge t a he n d s ilen s c ea e r o g f e th e b o dy, r r r g r r eant it's her , e , s I er t e hink ge i , s a woo l wonders , clot h alw r r ays wonderin s g, sta fo stan r e stanch x i a n m g p t l he e s , t ai f n iv s e minute r r s after r r i die, what will Azure see, where will she turn r r we all i hav i e i d t i do h e n s o e t thin b g se ba a e bar b barr u barri t arriers g a t e s , filled n b k y fi a c b ti o o u n t s m o y f d p ea aa t r h a r r dise i i do n o thing abou p t my d eath pa r r ra a d al i all s all e, all i o ne th e e d r t g o a do te i e s s , u r r p ag d agh a agha te s t my will r r r r other o i or se or or y ur othe othes F othe a other c s e ie boo k w pa i g se e i'm good to g r r o, as they say i r r i want to rema p in pa scr pas e pas aaming, pas d t e e th f ered, d u o n o t f i u l s the last gl r r uon releases the last q r r quark and the last pro n to r r n e es decay e s at the end o e f es est-ce an d s p o fo a rth s r r the paws that patter out the type re r r remain and find o i ut il ili w ilik h ilike at th is h ap t pen e s the re alw d a n y e s ss r r togetherness but s r r epar t a te te tetrah n e e d ss on r r s of m ha me p me a p me abo e ve n r r i ng ou K th r r tha me th ab t above or th you tho thou b elo b w e o l r y o o w u below r r o i r i i above r r me abov y e you r r or you b el o w above and me b r r elow nev neve o never r meeting both of us b e a l c o r w ro r r ss s o s or s or s or bo th t h a e b lin ov e e, too r r much ante in the i t r r transfixed acr thrwa ward t the page r r the speed of typing is
[NetBehaviour] homage to leavitt #3
http://jwm-art.net/mdz/gallery/oldwooddish.png Jonathon Leavitt, a Mandelbrot explorer, the discoverer* of 'de-bifurcation' or 'reverse-bifurcation' within the Mandelbrot Set. This is what you're looking at: oldwooddish - homage to leavitt #3 - 'reverse-bifurcation'. to find such images, you must be aware of a rule, as in the ancient drawing language LOGO but you follow the paths of the twists and the turns and distances along the infinitely twisted border of the Mandelbrot Set. as you are no doubt aware, you can zoom in and zoom in for ever within the mandelbrot set and still see self-similarity. this reverse bifurcation is a little different however, it only appears to possess fractal bifurcation - in theory? now, take the image i am showing you, divide it in half along the line of symmetry and count the branches - 128. 128 64 32 16 8 4 2 1 after making 4 branches off a single main branch, to get to 8 branches, zooming further deeper takes one back through two branches, 4 branches, before 8 branches are found. one must remember the correct place to make the branching magnification instead of heading straight to the center all the time. the location of the oldwooddish image within the mandelbrot set (which itself is located within the complex (2D) plain bound by a radius of 2.0 (centered on 0,0)) is: -7.62117937679763868315241247030275423469755426627738420180318245270798804887118157739268919140091423417335237629214081127371665327888360528335010378835950994472786588199757e-1 9.573175593807915218110127195876981729185284295753173780078525497988166932168660068170631431015884613850090347745780605812248444859260422571076360932193737688403082995582081506e-2 and the numerical range from the left of the image to the right of the image is: 1.796668676625665441038967911552250775193750305575687707926958355510177201240113669896258768588917386783877219879474166891511967516410809575490262066086562660939534951057637354e-152 128 branches is the limit of the fractal bifurcation of the emblem in this image. i feel like i constructed it, but i did not, it exists whether anyone discovers it or not. somewhere, is the same image with 256 branches, somewhere else, there is 512, 1024, 2048, 4096, 8192, 16384, 32768, 65536... it's hard to believe that these things exist without someone constructing them by carefully selecting magnification sequences. they exist! * see http://mrob.com/pub/muency/reversebifurcation.html -- _ : http://jwm-art.net/ -audio/image/text/code/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
