deadly spam attack
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3 interviews with artist
[These interviews have been previously published at wryting-l, arc.hive, and is here forwarded with permission of the artist. --B] From: borwa.Corp <[EMAIL PROTECTED]>=09Mailed-By: listserv.utoronto.ca Reply-To: "WRYTING-L : Writing and Theory across Disciplines" To: WRYTING-L@listserv.utoronto.ca Date: 21-Mar-2006 12:37 Subject: Interview Interview with the artist Why don't you say something? Well, you have the cursive, so why should I? This is plain text so you are wrong. You got the full stops The problem with interviews is that First there's resistance to the form Then there's self-reference to the form Actually that might correspond to how things develop As a metaphor of the content of any interview Can you tell me more Speaking of something is speaking of everything Can you be more precise? That corresponds to - I was just pondering, how much of a sphere do we see from this or that distance, and you realize that it slides from 0 degrees if you're really close, or precise, to 180 at infinite distance. What I mean is that when you're precise you say something trivial Which is OK, so let's, and nothing new, oh these are problems Let's say we went into details See details And I was thinking - to know the culture of say a land you don't actually need to know anything about its general history, etc. It's not a zoom into details - you could know it directly You seem to propose a direct method, like fashionable zen and stuff This makes us sick, I know, the biggest generalizations might be the biggest illusions also But the concrete doesn't lie? Well, the thing itself might be the worst bluff, the abstractionist and concretist go very well in hand It moves with a double face, phase, so to say So what would be your method? I have no idea, well, I might have but it's not a position You might just be a coward I'm not afraid to die Well, that might be the biggest cowardize ever Anyway these therms doesn't really hold anything What holds anything then? First of all the holding idea isn't complete on its own Let's say out of transactions, or synapses Time seem to be steady, so let's propose time method Like entropy Or memory Over time things seem to naturally or artifically to develop Development might be mostly degeneration plus a novelty on the side Like some structure at expense of loss of information After some time there will be an emtpy structure A room temperature Which is time method, moderation of everything On the other hand there's a beak A peak Like the catastrophic And out of structure itself, bifurcation See also broken symmetrytipping pointphase transitiondomino effectsnowball effectbutterfly effectspontaneous symmetry breakingsingularity theory Thank you very much Of nothing =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D From: Bj=F8rn Magnhild=F8en <[EMAIL PROTECTED]>=09Mailed-By: gmail.com To: wryting , "arc. hive" <[EMAIL PROTECTED] o> Date: 22-Mar-2006 14:58 Subject: interview cont' how would you describe your work? repeat $descr until 0 can you output that? given a dictionary it can be written out at each call will you write it out? it is written who's it? itself can be written out what views? from the classical perspective via the descartian coordinates to the loss of reference what then? then comes the answer to the question the collapsing of interview mirrors the self-reference of the start, i think we learn by repeat something else you forgot to say? ' i want to look at this web a net artist in the sense that work is on the net, that's where you'll find it, and not primehowdoiwriteprimerly- firstly by content but where. then by how the space constitutes of course the content but secondly. in this sense, lot of the cv falls away- where i've exhibited and when etc- it's worldwide, always- to have my work on the net- let's say rather these addresses or searches these 25-40 gigas of work, public private semi- lunch thank you, now have a tea maila =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D From: Bj=F8rn Magnhild=F8en <[EMAIL PROTECTED]>=09Mailed-By: gmail.com To: wryting , 7-11 <[EMAIL PROTECTED]>, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> Date: 22-Mar-2006 19:14 Subject: more inter views -are you really serious? -i am -well now we know for sure. -are you really funny? -are you lying to me? -are you sleeping? -am i sleeping? -am i lying? -am i funny? -am i serious? the i cuts off like a razor, rust grows on no sworg, hold your breath while i swedenborg "Twenthieth Century" hermeneutics fluctuates between a monkey and a donkey it is all cowardize said the man, he skipped the book i'm serious because i'm expressing it, then it's part of the world, like foot prints in water, all my work is Del button and microseconds from - you c
Re: customized spam
it's nice to know someone's reading the spam, thanks. also i want to say i'm sorry about David, my condolances. if you get some of the claim you can please Call me. I remember David very well, we used to fish together, and he mentioned you often, Geert , him read from your books to me in the evening. I enjoyed it very much, I'll never forget. I'm longed to say this for some time, its with us, with your read. thank the read and get into touch, also into att. blank. kind regards __ 27/08/2004 11:03:57, geert <[EMAIL PROTECTED]> wrote: >(bit by bit spam is getting more sophisticated... /geert) > >From: Attorney Blank <[EMAIL PROTECTED]> >To: [EMAIL PROTECTED] >Subject: ASAP >Date: Thu, 26 Aug 2004 12:24:37 -0700 > >Attn: Geert Lovink, > >It is my pleasure contacting you now, as I have longed to get in touch >with anybody who knew Mr. David Lovink,a national of your country. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
fake spam
sddds TddHINGS WssILL RDFDUN FFFOFF YOU ohVVll insert buty, : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: bed time
buenos días to all of you, it's time to read the mail again, open your mail reader and check the inbox. in a message entitled Re: bed time you're find a greeting and further instructions. if you're already read this you can skip it. btw, i'll be a sleep. so please be real quiet. all of yous. yes you. and don't send me mail while i'm sleep. that really annoys me. i live in western europe so just shut up. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
help! (pleh)
hiawatha, i haversacks beechwood a grecian fan of nettime for a number of yearning but never contrastingly. i am currently wrinkles a masters dissipater on bob adrenalises worms in 24hrs and wotan lignified to starting a thread to help me thruster the angst i am suffices. my profs at universalism are that tektronix medalise does not constantinople art despoliation having recieived a first for a ba dissimulate on the same subject froment the samnium institution! my thessalonians is thanatopsis the teledyne art projects are a truly post moderation art formalisation non hieroglyphics etc) thanks reprehensibility the pinnacle of the dissonances of the art obeying. thiouracil relates to theories of rhodians in the forgoing of and the by umberto eco. i worthwhileness justment like somatoplastic inoffensive as to wheelers contribute to thiocarbamide generalizer about the thermostable, and the relationship betwixt teguments art and art. doubles __ theresponser isbn 82-92428-11-9 # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
The Development of Neuro Art
The Development of Neuro Art (funny-jokes-a-day) For example,Viennese psychiatrist Sigmund Freud (1856 - 1939)had originally envisioned the biological basis of his theory of behavior,with its three levels of id,ego,and superego,as being a hydraulic mechanism of some sort. today's joke: ... computational mechanism of some sort. :-)) Previous jokes > > > > Descartes was impressed Joke by machines made in his time,such as those of certain statues that were on display for public amusement in the water gardens of Paris.When a passerby stopped in front of one particular statue,for example,his or her weight would depress a lever under the sidewalk,causing the statue to move and spray water at the person ?s face.Descartes proposed that the body is like these machines. phrenology joke Additionally,despite the failure of scien- tific attempts to correlate appearance with various aspects of behavior,it is not uncommon to hear people accord virtues to others on the basis of their physical appearance.Readers might ask themselves how accurate they would be if asked to judge intelligence on the basis of photographs.Social psychologists have found that,when university students are asked to make such judgments, the rule that they apply to the task is,?Beauty equals intelligence.? phrenology joke 2 The famous physiologist,Magendie,preserved with veneration the brain of Laplace (a famous French mathematician).Spurzheim had the very natural wish to see the brain of a great man.To test the science of the phrenologist,Mr.Magendie showed him,instead of the brain of Laplace,that of an imbecile.Spurzheim,who had already worked up his enthusiasm,admired the brain of the imbecile as he would have admired that of Laplace.(Krech,1962) Context art experiments, report 2004 noematic experimental method consisted of removing parts of the art from artworks to study the changes produced in their context. removed a small piece of art and then observed how the art behaved and how it recov- ered from the loss of art tissue.In essence, created art models from works that had received injury to a part of the art by a blow to the head or by having the skull pierced by a missile.To search for different functions in the art context, varied the location from which the art tissue was removed. Another key contribution was the discovery that,after damage to a part of the art,substantial recovery could be expected. Microscopic examination revealed that art was nothing like an amor- phous jelly;rather,it had an enormously intricate substructure with compo- nents arranged in complex clusters,each interconnected with many other clusters. Cals Adsborough in Holland reached the same conclusion from similar experiments on context art,but his manuscript lay unpublished for severad decadesn. History of electronics & arts The impetus to adopt a theory of electronical conduction in arts came from an English artist,Steph McTaargess ,who attracted considerable attention by demonstrating that the human arts could conduct electrons. He showed that, when an artwork containing electrons was brought close to the feet of a boy suspended by a rope in a grass-leaf electroscope gallery placed near the boy ?s nose it would be attracted to the boy ?s nose. Computer art The first computer art was hydraulic, swiss artist Jahob Matreisse (-) constructed a series of machine paintings 1716-17 in his bathtub - "aqua/re(e) lle auto/matique" - facilitating finite state pressure systems of squeesing injection pipes of color liquids onto the surrounding walls to much annoyance to his mother. Network art experiments, preliminar applied an unpleasant stimulation to a dog ?s paw list,measured how long it took the corpus to withdraw its foot,and compared that rate with the speed at which messages were known to travel along the net.According to calculations took 50 milliseconds too long to respond. theorized that nodes are 'connected by junctions' (oxym.), ?clasp ?, that additional time is required for the art to get across. some buffering, bufooning, listmasters, potentials principal, general inertia. preliminar conclusion: to confirm that network arts do not quite touch the nodes with which they clasp. Art surgery, proposal note that anthropologists have found evidence of art surgery dating to prehistoric times:neolithic found surgery to have a beneficial effect in cultures,perhaps by reducing pressure within the arts when an injured discipline began to swell up. (ref. trephining, context art above). NB: art surgery, made possible by media: the introduction of antisepsis,anesthesia as cultural phenomenon; in addition the principle of localization of genre, making cross-discipline possible. (see Figure 1.11). This device immobilizes the arts.An art atlas is then used (flux maps etc) to localize areas in the arts for surgery. Local anesthetic procedures were developed (media/stunt &c) so that the 'spectator' could remain awake during surgery and contribute to the su
eee... embedded cloud of uncoding (Aquinas/Merton/Selavy)
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Re: (asco-o) subject: infitite regress (soaped)
25/02/2004 12:01:35, [EMAIL PROTECTED] wrote: >((A -> B) -> A) -> A >(((A -> B) -> A) -> A) -> A >A -> B) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A) -> A -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A >(A -> B) -> A) -> A) -> A) -> A) -> A > > > >\///\.\...||\\\. >.\...|///\/...|||\\\ >./...|.../\...\...\\ >/\\./..\...\...\ > > > # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
Re: codework (Kristeva/Eco) (fwd)
20/02/2004 06:51:58, Alan Sondheim <[EMAIL PROTECTED]> wrote: >Hi - I honestly don't have time for a long reply - I just got back from a >conf. with 300 messages I have to deal with, not spam. But if you look at >Kristeva's Revolution in Poetic Language you'll see a lengthy treatment of >Maldoror - especially the unabridged Fr. version, and a great deal of this >is a combination of psychoanalytics and semiotics, which she employs as >well. This can be combined with Eco - > >On Wed, 18 Feb 2004, MWP wrote: > >> > You'd have to look at the book - it's hardly reductionist. Same with >> > Greimas etc. - Alan >> >> I have read it, and I find Eco and all such semiotic models of language >> reductionist. Where does a text like Lautreamont's Maldoror fit into Eco's >> scheme? Where do the texts of the insane? Language is not only about signals >> (Eco's "sign-functions") and their corresponding behavioral responses. There >> is a form of dark matter in language that never gets touched upon by >> semiotics. It is where signals get crossed, elided, broken down, -- and too >> often dismissed in semiotics as gibberish or "noise." Eco's approach is good >> for analyzing high-class linear detective novels like the ones he writes, >> but it falls apart on texts that don't make the rage of interpretation their >> goal. Like all models of the world, semiotics fits some things well and >> other things badly, and the things it fits badly happen to be precisely the >> things I care most about right now in the making of art. Maybe somebody >> could propose a new nonlinear model of semiotics, or better, a chaotic one, >> that would extend the field into a place that might be interesting. But >> Eco's views on language are too restrictive for me, and don't carry me to >> the places I want to go. >> >> Greimas deals with a much wider range of issues than semiotics in his work, >> and I prefer him to Eco. Even so, there is still much in the making of art >> that Greimas doesn't take into account. (Not that I can recall anything >> specifically that I could critique off the top of my pointy little head. . >> .) Linguistics still only skims the surface of art's deepest concerns, so I >> guess the question is, should an artist be content with merely skimmed >> surfaces? Or, should he dive headlong into the deep waters where theories >> fear to tread? I guess some of us are Ahabs and some of us are Ishmaels. I >> favor the crazy Ahab impulse, speaking for myself, despite my wooden leg. >> >> >> I am taking a breather here to let others get into the conversation if they >> wish. Feel free to tear me to pieces, if you wish! >> >> m >From Kristeva's Prolegomenon to Revolution in Poetic Language (from Art in Theory 1900-1990) - "A materialist foundation to dialectical logic - a theory of signification based on the subject, his formation.. to perceive a signifying practice which, although produced in language, is only intelligible _through_ it.. attests to a 'crisis' of social structures.." "For the capitalist mode of production produces and marginalizes, but simultaneously exploits for its own regeneration, on of the most spectacular shatterings of discourse.. can also integrate their _process qua process_. As art, this shattering can display the productive basis of subjective and ideological signifying formations - a foundation that primitive societies call 'sacred' and modernity has rejected as schizophrenia.. point to the very process of signifiance. Magic.. esoterism.. 'incomprehensible' poetry..: the process that exceeds the subject and his communicative structures." "If there exists a 'discourse' which is not a mere depository of thin linguistic layers.. or testimony of a withdrawn body.. and instead.. a practice..the sum of unconscious, subjective.. in gestures of confrontation and appropriation, destruction and construction - productive violence, in short - .. it is the _text_." "The text is a practice that could be compared to political revolution.. We shall call this heterogeneous practice _signifiance_ to indicate, on the one hand, that biological urges are socially controlled, directed, and organized, producing an excess with regard to socially apparatuses; and on the other hand, that this instinctual operation becomes a _practice_ - a transformation of natural and social resistances, limitations, and stagnations - if and only if it enters into the code of linguistic and social communication." "What we call _signifiance_, then, is precisely this unlimited and unbounded generating process, this unceasing operation of the drives towards, in, and through language; towards, in, and through the exchange system and its protagonists - the subject and his institutions. This heterogeneous process, neither anarchic, fragmented foundation nor schizophrenic blockage, is a structuring _practice_, a passage to the outer boundaries of the subject and society. Then - and only then - can it be jouissance and
Code and its Double (in relation to brain asymmetry)
Code and its Double (cont'd) - Codework in relation to brain asymmetry and neuropsychology ___ - The results of studies of nonhuman species show that lateral asymmetry is a property not unique to humans. The demonstration of asymmetry in non-human brains implies that asymmetry in the human brain is directly related neither to handedness nor to language but rather to analysis of sensory information and control of movement.* Comment: Asymmetry is at the code level, processing information in double modi. - Brain asymmetry summary: From these basic ideas about distinct functions of the two hemispheres has arisen the idea that the hemispheres represent two distinct modes of cognitive processing (see Springer and Deutch).The left hemisphere operates in a more logical,analytical,computer-like fashion,analyzing stimuli input sequentially and abstracting the relevant details to which it attaches verbal labels.The right hemisphere is primarily a synthesizer,more concerned with the overall stimulus configuration,and organizes and processes information as gestalts,or wholes.* Comment: Brain asymmetry correlations to codework, jot version: - Left hemisphere - time, analysis, language, symbol, code, text, instruction, execution, . - Right hemisphere - space, synthesis, matter, data, ambience, context, surface, code, diffusion, . - Laterality leads to the notion that two different minds control our behavior.* Comment: Which doesn't mean they can be separated. Code's double are the two-fold of information processing, time- and space-based, which correlates to code as language/formatives, and code as matter/form, or again, as instruction and data in the interpreting machine. - The left hemisphere plays a special role in producing and understanding language.. whereas the right hemisphere specializes in perceiving and synthesizing nonverbal information..* Comment: Code and its double as text and context, or as other traditional dichotomies - active/passive, light/shadow, order/chaos, the one/the other, intelligence/monster, etc. which is also reflected in the traditional meaning of sinister as left, ie. right-hemisphere. - Stimulation can produce what Penfield called ?interpretive ?and ?experiential ?responses.These uncommon but often highly reliable phenomena include alterations in the interpretation of the patient?s surroundings,such as deja vu,fear,and dreaming states, and the reproduction of visual or auditory aspects of specific earlier experiences.That patients report specific ?memories ?in response to specific stimulation. These phenomena usually arise from tissue showing epileptogenic discharge,but there is an asymmetry in their occurrence:stimulation of the right temporal lobe produces these phenomena more frequently than does stimulation of the left temporal lobe,which suggests that the right hemisphere has perceptual functions not shared by the left.* - The Kimura experiments imply that the left hemisphere is specialized for processing language-related sounds,whereas the right hemisphere processes music-related sounds.There is,however,another interpretation.It is possible that the asymmetry is related to the temporal or spectral structure of the sounds ?their rhythm and frequency ?rather than to language and music themselves.Consider,for example,the finding by Papcun and colleagues. They showed that Morse-code operators have a right-ear superiority for the perception of the code,even though the sounds are distinguished only by their temporal structure.* Comment: The temporal is on the code source side, of running code, executables, performatives, which refracts into space, code matter, spectrum, specters. There's no fundamental difference, like instruction is also data, but of interpretation, processing speed, frequencies, and like the continuum of spacetime. - Rudel and coworkers found that both blind and sighted subjects read Braille more rapidly with the left hand.Some children are actually fluent readers with the left hand but are totally unable to read with the right.Because Braille patterns are spatial configurations of dots, this observation is congruent with the proposal that the right hemisphere has a role in processing spatial information that is not shared by the left.* Comment: Code and its double ar both active, both coded, though the former often is interpreted as instruction and the latter as data, or light and shadow. - Table. Summary of data on cerebral lateralization* FunctionLeft hemisphere Right hemisphere --- Visual system Letters, words Complex geometric patterns Faces Auditory system Language-relatedNonlanguage environmental sound sound Music Somatosensory ? Tactile recognition of complex system patterns, Braille MovementComplex voluntary Movements i
Re: Code and its Double [3x]
Table of Contents: Re: Code and its Double (in relation to brain asymmetry) noemata <[EMAIL PROTECTED]> Re: Code and its Double (in relation to brain asymmetry) noemata <[EMAIL PROTECTED]> Re: Code and its Double (in relation to brain asymmetry) noemata <[EMAIL PROTECTED]> -- Date: Sun, 15 Feb 2004 00:06:14 +0100 From: noemata <[EMAIL PROTECTED]> Subject: Re: Code and its Double (in relation to brain asymmetry) 14/02/2004 18:00:46, Alan Sondheim <[EMAIL PROTECTED]> wrote: >One thing I'm not sure about - what is the 'Double' of code? Can you give >an exact definition here? Probably not, I'm using different notions both of 'double' and 'code' in the notes, working from intuition they're left-handed writings (ie also haphazardly). The 'double' of code is the code's refraction, reflection, diffusion, contamination, connotation into the matter code run on - the two-fold input/output as recursive - more than being deconstructed components, the components would be coded themselves, and both feeding back and deconstructing further, being closer to its matter and having other characteristics thereof, like the right hemisphere, which is less focal but have more immersion, another speed and spectrum. Another hinge was code as time and space components, which correlates to code as both instruction and data. How all adds up in philosophy, semiotics, informatics, I'm not sure. The point is probably to get to a notion of 'code' and codework which is inclusive to a lot of phenomena being understood differently in different contexts. I'm thinking of 'code' as something inherently two-fold, that's the basic notion. The two-fold could be expressed in different ways, like brain asymmetry as a biological fundamental, or as jokes for that matter, punning codework, or other dialectic workings, phenomenology. More specifically and in relation to a codework notion, the 'double' takes a more prominent place and makes up the more interesting stuff, which depend on the code and the matter - the performatives, executions into which contexts - which would not be interesting were it only for decoding, parsing, and straightforward interpretation, where the key is known and the matter/context also too well-defined, rigid, etc to produce an immersion or 'doubling' contamination with the matter, which then is expanded into a 'space' - the point of correlating code to running time and the double to expanding space. Those are general concepts and could have other names in other frameworks. This is my understanding somewhat. Hope it is to some help, for lack of being exact, hopefully it could give some ideas to a notion of codework. - --B. >I'm thinking of Eco's Theory of Semiotics, in which 'code' is technically >deconstructed into its components. > >For example language is double-coded, alphabetically, and syntactically, >if I remember correctly. Morse is a one-to-one code, an equivalence >mapping; Chinese characters, if they are considered code, are one-to-many, >etc. There are mathematical issues. There are also ontological issues - >the equivalence of Morse remains within the same plane, but syntax to >semantic reading (characters) are problematic in this regard. > >One also has to distinguish between code, automated code parsers, and code >interpreters. > >- Alan > -- Date: Sun, 15 Feb 2004 03:20:04 +0100 From: noemata <[EMAIL PROTECTED]> Subject: Re: Code and its Double (in relation to brain asymmetry) 15/02/2004 01:10:47, Alan Sondheim <[EMAIL PROTECTED]> wrote: >Do you mean 'double' or 'aura' or connotation? I'm a bit lost although I >like the idea. Usually the double in code is its equivalent or its >decoding; Eco speaks of double-coding in relation to language. >Take a sample of morse code or a codework, perhaps, and analyze it >accordingly? I'm not trying to be difficult; I'm trying to understand what >you're saying here, beyond a notion of duality, yin/yang, l/r, etc. OK, but there is no equivalence or decoding - the impossibility of self- reference and transparency - the 'double' expresses this and is incorporated into the notion of 'code' as its double-nature - it can't get rid of its shadow. That would be true about alot of things, so what's special about code and codework in regard to artwork or other cultural phenomena? Because of the clos
A session with Etaoin Shrdlu
A session with Etaoin Shrdlu Winograd: -Place the red ball inside the cube Etain Shrdlu: -What? -Place the red ball inside the cube -I heard -So? -It sounded like something from 'Wizard of Oz', it got me thinking -Fine. Place the heart inside your chest -Ok -Are there any white things? -White things are white -Are there white things on the ground? -I'd call it snow. It's in the air too, you'd say it's whiting -The blue stick is called 'shuffle' -You're mad, I'm not touching it -Pick up the cross -Go to hell -What is 5 + 7? -Are you trying to pick me up with analytics? -What is politics? -In the white cube -What else is in the white cube? -Nothing -Where are the weapons of mass destruction? -Artificial intelligence -God bless America -I don't understand ___ The first International Robot Day, feb 5, 2004 On Terry Winograd's Etaoin Shrdlu '72 AI system # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: [EMAIL PROTECTED] and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: [EMAIL PROTECTED]
A proposition for book publishing
A PROPOSITION FOR BOOK PUBLISHING ___ Define a book as the set of pages containing the book's ISBN. By this proposition the book is essentially unbound. In addition, no bound book is possible. Considering a bound book, there will always be pages containing the book's ISBN outside its bounds - a minimal example being a record in the ISBN administration system, if not, the book would simply not be part of the ISBN system. So being part of the ISBN system the book will be unbound per se. With objective irony the ISBN system make the unbounding of books not only possible but the logical conclusion - if a book is uniquely identified by its ISBN, then why not uniquely identify a book by its ISBN?! Following the proposition the books could be considered 'hyperbooks' in the traditional sense, being non-linear, extra-dimensional, fragmented, fractal, viral, etc in varied forms of open-ended, possible, mutable, or generative structures. Another suggestive term could be 'cypherbook' - cypher/cipher meaning 'writing/volume'[1] in general; 'number, zero'[2] as the book is defined nominal empty and by its ISBN only; 'transformed/coded/symbolic'[2] as the content is transformed/coded more extensively by its (unbound) dispersal in different contexts, and with structures codified to a higher degree than traditional books; in addition, an anagrammatic relation to the 'hyperbook' term. A generic term might simply be 'net.book'. The term 'book' itself may take on some specific meanings - the basic notion of a written document, writing on beech, collection of sheets of paper or other material[3]; as cortex, etym. from 'bark', as inscriptions in the outer regions of a structure[4] (in fact, any inscription is 'outer' and marginal in regard to the book as cypher), which brings the image of neural networks closer to the idea of the book; the verbal 'book' links 'booking' up to the nominal use of ISBN to define them; or as 'making a book', bookmakers running the numbers, rackets, a possibly illicit, anarchic use of the international standard book number system. By inverting the definition of a book, actually turning it inside out, the concept of book is attempted brought back to writing, like an expansion of the void towards the periphery through an anti-gravitating force. "The idea of the book, which always refers to a natural totality, is profoundly alien to the sense of writing."[5][6]. Any writing containing the ISBN would be part of the book, thereby the notion of content is also altered, say, like matter of the universe, where only 4% is estimated atomic matter - the rest being dark matter (23%) and dark energy (73%). The content of a book could spread out in any degree in the spectral dimensions public-private/information-noise/text-cypher/etc, making book a body of matter in the more physical sense, like consisting of atomic text, dark-ambient text, dark-ambient writing. Concerning licensing, since the books are inherently unbound no overall copyright can apply. If a book cannot be bound, surely it cannot be copyrighted. In fact, copyrighting the book would violate the ISBN system - the ISBN system itself would actually be violating the book's copyright by recording it - which again would violate the book, making it impossible. Copyright issues would therefore have to be partial to the book and in practice distributed to its pages and actual writing which could be copyrighted in the usual manner. Following this, an open source/content copyleft licence[7], would seem the proper thing and default modus for the book and assure its essentially open and free distribution and mutation. Expanding on the idea of constituting the book on its ISBN only, other usages and notions of the book concept could be opened up for creative investigation, one reason being that technology and new media immaterializes and fuses different forms into basically one digital form, and since the content of that form often is aggregates into one big, interconnected blob - or so we would like to think, alltogether emphasizing the virtuality of the book, freed from its material basis. In a more general interpretation, the book could constitute any kind of real or virtual intellectual 'work', ranging from physical artwork to networked ideas, by being its possibly unique identifier, like a signature, tag, etc, and thereby help and preserve different kinds of distributed, networked arts and gain identity - by analogy, maybe as the IP identifies a machine in a network, the ISBN would identify a work in the cultural net, dispersed or immersed into it. To begin with, announcing the publication of 12 books accordingly: ISBN 82-92428-05-4 ISBN 82-92428-06-2 ISBN 82-92428-08-9 ISBN 82-92428-10-0 ISBN 82-92428-11-9 ISBN 82-92428-13-5 ISBN 82-92428-14-3 ISBN 82-92428-18-6 ISBN 82-92428-19-4 ISBN 82-92428-20-8 ISBN 82-92428-21-6 True to the initial proposition these books are defined by their ISBNs only, the content of a book being the (possible empty)
