Prosthetic lecture.a copy 5

discussion document: prof. phillip baldwin [email protected]

THE BODY ON THE NOOSPHERE

POST MODERN VIEW: NIHILISM AND THE DIVERSE PATHOS

THE TELEMODERN: MASS CUSTOMIZATION AND LIVING THE ARCHIVE TO MAKE ‘THE MEANING’ THE MONSTER IS THE TELEMATIC AI

DOMINANT THOUGHT AND NARRATIVE CULTUREBECKETT, NIETZSCHE, BARTHES, LYOTARD

de CHARDIN, BAUMAN, YOUTUBE, TELEPHONY, NETWORK PERFORMANCE, OF-THE-HOOK SOCIAL MEDIA

THE CRUST THE CORE THE MONSTER

ART

SCIENCEART

KINECT AND FILM SEQUENCES:SHOT, SEQUENCE, SCENE, MONTAGE, FLASHBACK, TEMPO, ARCH. BREAK THIS, CONTRASTINTO GRAMMAR

CINEMA AND THE BODY

1Saturday, October 27, 2012

mailto:[email protected]


ONSTAGE AT PLATO’S LOFT

[email protected]






THE BODY IN THE NO-OSPHERE:

DEVELOP A SERIES OF CODE THAT CORREPOND WITH THE KINESTHETIC ACTION OF THE IR CAMERA AND THE MINDWAVE.

IDEA – the concept or artistic impetus behind the work:

Develop a series of software that results in a new means of perceiving performance and the human destiny within the ‘noosphere’ of current telematics.

PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it:

Using code through max msp, the IR camera, and the mindwave we have come up with a number of combinations of ideas in human computer interfaces to be used with developed content in storytelling. We are aiming at Augusto Boal’s notion of the spect/actor providing a fluid relationship with the media of performance.

DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work.

This is a series of practices in art and tech. Why are they separate? What is the destiny of reuniting these separate features? Do they have a cultural legacy together as they might be blended as a new art form?

CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context:

What are the ends of interface and network? Have we already moved through a time where the combined cloud computing of the metaweb has reached a type of sentience? What are the many relationships between simulation and database? Would a fracturing of forms merely create a further digression? This is a project that will ask some, and demonstrate all these questions implicitly.




discussion document: prof. phillip baldwin. [email protected]. 917.385.2446

THE STORM OF THE MIND

DEAR SIR OR MADAM:

THESE ARE PROJECT PROPOSALS FOR YOUR CONFERENCE ON DEVISED DRAMATURGY. MY CURRENT UNIVERSITY RESEARCH AND PUBLIC EXHIBITIONS/PERFORMANCES INCORPORATE THE NEW TECHNOLOGIES OF THE KINECT IR CAMERA (READING THE GESTURING BODY INTERFACES OF MUSIC, SOUND, AND MOTION) AND COMBINING THIS WITH THE EMOTIV NEUROSENSOR CAP (WHICH WE HAVE USED TO TRIGGER FILM WITH TWO TO FOUR DIFFERENT EMOTIONS. THE LAST TECHNOCRATIC 'ATTACK' ON THE ACTOR/AGENT, AS WELL AS THE LINEAR/SCRIPTED NARRATIVE IS OBVIOUS: WE CAN PERCEIVE EMOTIONS THAT TRIGGER MOTORS AND PROJECTORS BEFORE OR AS THE ACTOR DOES, AND THE INTERFACES OF THE BODY EXPAND/BREAK DOWN/MASH UP THE NOTION OF THE AUDIENCE DISCREETLY PERCEIVING A WORK OF ART. ALL IS 'DATABASE' AS ALL NARRATIVE IS ACCESSED IN THE MOMENT.

THIS PROJECT PORTENDS TO A NEW DYSTOPIC TIME WHERE ALL BRICK AND MORTER (THE THEATER, THE UNIVERSITY, MED SCHOOL FOR EXAMPLE) AS WE HAVE SURGICALLY IMPLANTED SENSOR NODES (OR ELSE WE DONT WORK OR GET HEALTH INSURANCE) WITH GOOGLE ON STAND BY FOR OUR DREAMS, OUR CRIMES, OUR THOUGHTS, OUR ABILITY TO PERFORM COMPLEX SKILLS, OUR ABILITY TO USE OUR MILLION YEAR MEMORY, AND WE CAN CALL UP ANY INFORMATION (IN THE DATABASE OF THE NOOSPHERE) AND WE WILL THEN HAVE ANOTHER MACHIN IMPLANTED AT THE BACK OF OUR RETNA AS THE TINY THEATER OF OUR MOLECULAR EXISTENCE. THE AUTHOR IS THEN THE ACTOR (SEE QWIKI WHICH ARRANGES WIKIPEDIA IN NARRATIVE FORMS), AGENCY (IN COMBINATION WITH A GENETICALLY ALTERED WORLD) WILL BE SOME FRAGILE HUMANISTIC TIE WITH HUMILITY, RESPONSIBILITY, AND SOLIDARITY. ARE THESE THREE QUALITIES THE LAST OF REAL HUMAN CULTURE? WILL AND ENGINEERING OF HUMAN DNA CREATE THE POST HUMAN OR WILL THE PROSTHETIC OF THE RETNA SCREEN WITH THE NEUROSENSOR CAP DO THIS QUITE WELL? THIS PROJECT (USING THE IDEA OF THE ORIGINAL SCENOGRAPHY OF PLATO'S CAVE) EXPLODES WITH ATTENDANT QUESTIONS.

PB

THE MANIFEST: USING THE NEUORSENSOR CAP AND KINECT IN PERFORMANCE AND EXHIBITION

The following are some mind-mapped notes on what we could accomplish with the given technology and human computer interface devices: the IR Kinect camera and the Emotiv Neuosensor cap. As new types of consumer level interfaces with computers, local interaction and beyond (the Noosphere in the form of the internet) these devices are amazing in themselves. We have come a long way from the pecking index finger. Yet the salient questions of both western and eastern philosophy remain open and can now begin to be ‘touched’ in the form of simple exercises that ‘illustrate’ the tropes, metaphors, expressions, and manifestations of these two devices…with the appropriate software and the appropriate ‘old media’ to mash up. What are some initial hooks?

If we follow Julian Jaynes and Marshal McLuhan in a general drift of historical media something happened to the human mind around 1000-500 B.C. The collective ‘mind’ left the world of the oral storyteller and entered into a very particular relationship with writing and the Phoenician alphabet. Jaynes stated that a type of ‘bicameral mind’ happened at this point and McLuhan stated that a type of imprisoning ‘linearity’ of alphabetic form coincided with the advent of large-scale writing and literacy. The papyrus market from Egypt was in particular flows and flux and this affected the market, needs, and uses of literacy. Cities (the polis as a form of commercial and cultural agitation) were formed and making their final refinements before the large scale metropolis in Roman and Chinese society. Plumbing networks and improved infrastructure made these cities bloom into large-scale endeavors. The oral Homeric traditions began to be codified on papyrus. According to these two theorists the mind itself was split into forms of pre-literate holisms of consciousness, and a type of ‘literate linearity’. The dichotomy of ‘inner and outer’ self became etched in drastic relief. We see the emergence of important philosophers of morality and ‘alternative realities’ emerge all over the northern hemisphere perhaps as a reaction or incubation of this new literacy. Socrates, Confucius, Christ, Buddha, Zoroaster, and Mohammad emerged out of a moral need to respond to and metaphysically ‘correct’ the influence of literacy. How could we still intuit a perception of meaning, content, alternative states, and the moral if we could now lock the past and future experiences of theses states on papyrus in the forms of written words? McLuhan famously stated that a type of rear-view mirror looked all the way back from newer media to the older media and arrived at this inception of literacy. What happened with the television is that the image, sound, and body became perceptually available to this literate mind and a type of shock happened: the modern literate mind was re-tribalized by the possibilities of a preliterate experience with the greater networked world. The digital revolution added greater speed, pervasiveness, and a type of push button accessibility to millions of other nodes (in my childhood I had access to four channels who would concern themselves with the shaping of opinion…even the public channel…a type of information dumbing-down that we had to correct with reading).

The information ‘locked’ in the kinesthetic body can now be opened up. The IR camera can perceive, calibrate, trigger, and in many ways act as a transducer for expression and control. We have got the machine (off the stultifying Xbox platform) to trigger sound, film, game walkthroughs, and many other somatic, physical operations that were only possible with the mostly right index finger on the mouse. The unlooked ‘tribal’ significance of pre-literate uses of the body can now be explored and amplified. As this is an examination in the realm of art and cultural production we don’t feel the need to calibrate, add taxonomics, and in other ways find a repeatable result that we would have to as a scientific experiment. Our initial agenda in ‘making manifest’ with these two devices is to raise some very old questions of the philosophy of mind and body and illustrate countless tropes that could be made manifest in a performance and exhibition setting.

The cap with the Kinect ‘chases’ the ‘soul’ back inside the body. Initially there is a reaction to the absolute surveillance capacity of both interfaces. The way we move is a big ‘fingerprint’ of our public identity and we care if we are used or ‘cultivated’ (harvested) for the purposes of commerce or political and societal misdeeds. Personal agency and a type of reflective ‘retreat’ often hides behind ‘face’ in both Asian and western civilization. Perhaps this is trans cultural. Up until the advent of neurosensors we assume that we can and will survive the assaults of the public world and then we can find sanctuary behind the mask. With the use of both the Kinect and the brain cap we find that this will also erode. What external transducer can be trigger ‘outside’ the mask? Isn’t this primordial and nothing new with performance, shamanism, and even psychotropic drugs? What new tropes, combinations, landscapes, unlocking of subconscious states, dreams, jokes, archetypes, parodies, and other manifestations of an inner state to an outward being can be made in combination with these consumer level items?

These digital to human interfaces show up at another paradigmatic time: that of environmental, society/financial (with the interlinked finance markets) and most importantly the bio-engineered world of the human body and mind aptitudes themselves. These two, fun, prosthetic items can and do point toward a human reaction not only to the digital world and the Internet, but also to the greater morality and teleological questions of wholesale engineering of the human animal itself. With these simple items we hope to touch on ancient questions left unsolved and portend to a world just beginning: rearranging and engineering the very DNA of the human beast. pb

The grammar:

The immediate task is to combine a number of things: the internet, the Kinect IR camera interface, the Emotiv Neurosensor, and select programs in Max that trigger software that have direct expression in a performance/exhibition setting. With these new interfaces the body as well as the mind shall be placed in combination of intentional ‘acts’ as well as manifestation that will reveal the message in a number of combinations never seen before within this consumer technology. Imaging a database of the quality of life of the lowest billion people on earth. This could be a rough estimate (as there might not be continuous feeds of data coming from that sector who has trouble eating every day let alone finding access to a computer). We could find a dynamic feed from this information such as the amount of food consumed every day or the presence of shelter or disease in their lives. With this database we could find a means of expressing it though some sort of aesthetically captivating pie graphs, rhizomes, graphs of beautiful vibrant colors or one of the many graphing means (see ‘information is beautiful’). We would take this information and develop a 1 to zero means (in Max there are 257 degrees) of amplifying brightness, sound volume, or, perhaps, the movement of a servo motor attached to just about anything…a balloon blowing up. With this information on the bottom billion people on earth we could attain an idea of what the manifest shape of human identity is as a whole: what the daily life is (expressed in a form of database metaphor), how many and what is the type of hunger they go through in a day. With this specific ‘look’ at this dynamic database expressed in numbers through a CPU and then sent through a transducer so that it would take on some manifest form we can arrive…as an audience in an exhibition or performance…what the minimum shapes or qualities of being human are at the bottom of all possible humans existing now on earth. It is an interesting first assignment or manifestation for this ‘mashup’ because it addresses the proximity and saliency of networks, information, interfaces, archives (dynamic) interactivity and simulation that immediately take on a moral dimension and avoid the empty ‘hipster’ applications of a privileged materiality and technology. This exercise illustrates an ‘alternative reality’ that is ‘out there’. These are other concepts that weave between the aesthetic and the moral within this scenario.

Finally there is an interesting aspect of combining aesthetics and morality in the use of the Kinect and the Emotiv: we, the audience, can view any given user incorporating their whole body in the decision sand manipulation of their interfaces with this information. The Emotiv adds the dimension of thought and emotion: is thought itself as moving neurons an important manifest act? Could the agent ‘act’ through thought on the level of empathy and choice with the information on the shape of base human dignity?

Network, information, interface, archive, interactivity and simulation.

Network:

Those with access to machines are privileged. One to three billion people on earth have access or ownership of networked computers. The important ‘Kantian’ aspect of this installation addresses an important notion…often missed with telematic technology…humility (why do I have this privileged of material possessions in the computer and interfaces), responsibility (what could I do to use this machine that the bottom billion couldn’t have access to), and solidarity (with the other billions who cannot find the means of network connectivity for work, food, and other important societal aspects of connectivity).

Information:

What can we know of the bottom billion? What is ‘useful’ information compared to ‘exchangeful’ information? Who emits, what is the shape of the message emitted and what forms and who are the receivers? With the dynamic information created through databases of the lives of the bottom billion we also have a dynamic receiver in the form of the mutable self of the receiver. Both ends of this equation are in flux. Information emitted from the database of the billion is as fractured as the billions of neurons in the brain of the agent/subject in the performance installation. In some way the message is held as the ‘anchor’ of the exchange in the flux of both emitter and receiving agent.

Interface:

The database is built out of supposed ‘facts’ of the bottom billion souls. The data feed is attached to interfaces and transducers that project that information. The singular agent in the Kinect beam and the Emotiv cap then triggers their reaction to the information adding a (Kantian) response to a possible empathy with the billion souls represented as a singular ‘transducer’. If the human moral essence can only exist as an ‘end’ in itself what shape would the knowledge of this fundamental dignity take? How could these lowest billion exist as a type of subhuman existence just because we can’t have direct empathetic knowledge of their existence? Could an interface attached to the aggregation of these billion arrive at a concept of a whole human being to be encountered with this new interface?

Archive:

Is there a real struggle between database and narrative (database with a temporal aspect added)? Is this merely the capacity of giving a push to inert facts existing in the library?

Interactivity:

How could we start to empathize with a large group of people so that they…in a sense…could be come a singular entity?

Simulation:

Is game structure important for creating the ‘push’ behind inert databases? Are the lives of these bottom billion a form of alternative reality much like the fantasy/fantastical worlds created by the gaming community? Is immersion and simulation really a means of diving an ostrich head in the sand?






If we follow Julian Jaynes and Marshal McLuhan in a general drift of historical media something happened to the human mind around 1000-500 B.C. The collective ‘mind’ left the world of the oral storyteller and entered into a very particular relationship with writing and the Phoenician alphabet. Jaynes stated that a type of ‘bicameral mind’ happened at this point and McLuhan stated that a type of imprisoning ‘linearity’ of alphabetic form coincided with the advent of large-scale writing and literacy. The papyrus market from Egypt was in particular flows and flux and this affected the market, needs, and uses of literacy. Cities (the polis as a form of commercial and cultural agitation) were formed and making their final refinements before the large scale metropolis in Roman and Chinese society. Plumbing networks and improved infrastructure made these cities bloom into large-scale endeavors. The oral Homeric traditions began to be codified on papyrus. According to these two theorists the mind itself was split into forms of pre-literate holisms of consciousness, and a type of ‘literate linearity’. The dichotomy of ‘inner and outer’ self became etched in drastic relief. We see the emergence of important philosophers of morality and ‘alternative realities’ emerge all over the northern hemisphere perhaps as a reaction or incubation of this new literacy. Socrates, Confucius, Christ, Buddha, Zoroaster, and Mohammad emerged out of a moral need to respond to and metaphysically ‘correct’ the influence of literacy. How could we still intuit a perception of meaning, content, alternative states, and the moral if we could now lock the past and future experiences of theses states on papyrus in the forms of written words? McLuhan famously stated that a type of rear-view mirror looked all the way back from newer media to the older media and arrived at this inception of literacy. What happened with the television is that the image, sound, and body became perceptually available to this literate mind and a type of shock happened: the modern literate mind was re-tribalized by the possibilities of a preliterate experience with the greater networked world. The digital revolution added greater speed, pervasiveness, and a type of push button accessibility to millions of other nodes (in my childhood I had access to four channels who would concern themselves with the shaping of opinion…even the public channel…a type of information dumbing-down that we had to correct with reading).

The information ‘locked’ in the kinesthetic body can now be opened up. The IR camera can perceive, calibrate, trigger, and in many ways act as a transducer for expression and control. We have got the machine (off the stultifying Xbox platform) to trigger sound, film, game walkthroughs, and many other somatic, physical operations that were only possible with the mostly right index finger on the mouse. The unlooked ‘tribal’ significance of pre-literate uses of the body can now be explored and amplified. As this is an examination in the realm of art and cultural production we don’t feel the need to calibrate, add taxonomics, and in other ways find a repeatable result that we would have to as a scientific experiment. Our initial agenda in ‘making manifest’ with these two devices is to raise some very old questions of the philosophy of mind and body and illustrate countless tropes that could be made manifest in a performance and exhibition setting.

The cap with the Kinect ‘chases’ the ‘soul’ back inside the body. Initially there is a reaction to the absolute surveillance capacity of both interfaces. The way we move is a big ‘fingerprint’ of our public identity and we care if we are used or ‘cultivated’ (harvested) for the purposes of commerce or political and societal misdeeds. Personal agency and a type of reflective ‘retreat’ often hides behind ‘face’ in both Asian and western civilization. Perhaps this is trans cultural. Up until the advent of neurosensors we assume that we can and will survive the assaults of the public world and then we can find sanctuary behind the mask. With the use of both the Kinect and the brain cap we find that this will also erode. What external transducer can be trigger ‘outside’ the mask? Isn’t this primordial and nothing new with performance, shamanism, and even psychotropic drugs? What new tropes, combinations, landscapes, unlocking of subconscious states, dreams, jokes, archetypes, parodies, and other manifestations of an inner state to an outward being can be made in combination with these consumer level items?


The grammar:




Network:


Information:


Interface:


Archive:


Interactivity:


Simulation:








The grammar:




Network:


Information:


Interface:


Archive:


Interactivity:


Simulation:







Network:


Information:


Interface:


Archive:


Interactivity:


Simulation:







THE STORMS OF THE MIND.

More binaries:

INTERFACE/THOUGHT:

AUDIENCE SEES ACTION/AUDIENCE DOESN’T SEE ACTION:The ‘magic’ is seeing the ideal image. …Perhaps contrasting that of what you think should have happened.

BRAIN IN VAT/RAT IN CAGE:Frustration becomes bliss. It has to at the end.

THE DEATH OF MAGIC/THE BIRTH OF THE SUBTLE FACE:With the mad face I can’t see the tornado touch down. I know the storm will have duration.

PETER BROOK ‘EMPTY SPACE’/AUGUSTO BOAL’S ‘CROWDSOURCE’:Brook…in his Gurjevian, guru, shaman, charlatan, method attempted to manipulate the crowd of true believers in the theater once he got them there. Boal wanted to collect them from a world of suffering and frustration and meet them at the door.

INTERFACE/THOUGHT:

Patterns move…just like the cumulonimbi of the midwestern hot spring. You could watch these storm clouds that went up to 80 thousand feet and seem like they would touch the ground. Then…. if you were very close to it, you could see the swirl of the massive heat that the sun caused on the black plowed plains punch a large swirl into the bottom of the dark black cloud. Time. I am witnessing the fluid motion of clouds and heat and the cold air pressing down from thousands of feet. I feel time and I look. I see the visible. The horror of the storm…the big storm. It is a tornado in creation like the one last week that killed about three hundred people. Time and visibility. With the human brain I don’t see this storm…perhaps I could if I were trained. The clouds are no less dire. The danger no less immanent. I have felt this at certain ‘storms’ in my life. Moving about the streets in fits of panic and crying. Sleeplessness as the storm brewed overhead. Logic …the serial logic of thinking these storms out didn’t work. The storm was already in motion. Logic was like the pathetic surface of the prairie from an observe in a pickup truck stopped at the side of the road watching with awe as the storm gathered above. Calm did not work. ‘just put your hands within your belt and concentrate on the rhythm of the breathing up and down…said the Chinese doctor. Already the storm had brewed. This would be like crop duster flying through the storm of the mind. Nothing was working except to let the storm pass. Even the events…perhaps the calm of listening to water or to calming music didn’t work. The brew of the storm inside was too much. I had to let it pass. After…what perhaps made me know I would survive…. I would feel very much better…or at least different. ‘What doesn’t kill you makes you stronger’…is the famous, oft repeated Nietzsche quote. So be it.

Time. Change is the entity gluing time with visibility. All I see is change in the storm of the earth and the storm of the visible. I think…I know…I think and I feel together…. this is difficult to unhinge those two ideas. I wish time to stop. I wish to see the funnel cloud before it hits the earth bringing death and destruction. I wish to stop the storm within like Lear on the heath and see where my logic, calculation, risk, and environment has taken me. I have gathered everything from the environment. I see it. There is noting a control of the will could do to stop what is in motion. No-time…stasis is that thing contradictory to time fullness. Between the contrast of visibility and non-time is the image. What was that? Why is film still the conjoining of still images…. can we not live outside of the perceived flow of time which is real the still? Contradictory of the visible is non-visibility…the invisible. Where is that? Even in the storm of the prairie I know it to be there. It is the impending destruction…my own death in the chaotic path of the storm. Where and what is this invisible? Can I see the storm of my mind? Do I have to stand outside myself or view it from the ground? Between the non-visible and the non-time is the ideal…the ideal image. It is like that last moment between life and death where the Tibetan Buddhist wait above the sick body and ask where it is going…what does it see. It is the sword fight machos after the final act of a Jacobean dual where the mortally wounded ask each other ‘what they see’. What is the ideal? What is that moment between life and death as they see both sides in an ideal…. what should they have done? Different? I am about to go mad…. I cannot sleep. I call for the drugs that would make are sleep or become a solider as the walls of the room close in. All closing in. The stab of the poisoned sword, the touch of the tornado to the ground. Boom. Insight. Then duration. How long do I have between this full sense of time and the non-visible? Out.

BRAIN IN VAT/RAT IN CAGE:

Brain in the vat floats. The palace of the tantric mandalla expands…extrudes. Conflates into the fourth dimension. Time. It now has time fullness. The yantra moves upward the tornado move downward. It touches and implodes everything in its path. The air of the human body feels the still and then the sucking moments after it is churned with steel and stick, and shrapnel debris in the vortex of nothing. Implosion. The air is sucked out of the victim and she had been taught to suck in air as a mindful yoga practitioner. You breathe in your last breath as you huddle in the basement on the prairie. You are in that moment between life and death. The funnel is right above you churning everything and it will suck you out…there is little hope of endurance. You are going mad trying to take the ‘right’ breath of the mind-full living. Contrary to your life is peace. Contrasting it is suffering. Contradicting it is death. You are hamlet stabbed in act five. You are king Lear on the heath coming the suicide of the sane. You are the kamikaze in the battle of Okinawa plowing your craft into a destroyer. There is a type of peace between suffering and death. You are aiming right for it. You have no choice with the funnel cloud above you. You cling to a film image that has stopped. You are the rat in the oasis maze and you move only by intuition. You are the brain in the vat thinking of it all and knowing that you will be back…the eternal return. Perhaps you will be back to this moment. Always. Like a flash. Like an oasis maze. Seeking in a type of bliss of frustration. The basement is not safe…you are sucked out into the lathe. The poison stab is mortal…you will know peace in painful decline. You see the confluence of the ideal and the image. The movie flickering has stopped. The hot bulb sees only one frame…that sees it? The hot bulb burns. The audience gasps and some laugh…. then…. out.

THE DEATH OF MAGIC/THE BIRTH OF THE SUBTLE FACE:

PETER BROOK ‘EMPTY SPACE’/AUGUSTO BOAL’S ‘CROWDSOURCE’:

McLuhan claims that the ten thunders in Wake represent different stages in the history of man:[57]▪ Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals.▪ Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression.▪ Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life.▪ Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power.▪ Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors.▪ Thunder 6: Industrial Revolution. Extreme development of print process and individualism.▪ Thunder 7: Tribal man again. All chor-actors end up separate, private man. Return of choric.▪ Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound.▪ Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death.▪ Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile

man.[edit]

The principles of new media

In his 2001 book, The Language of New Media, Manovich describes the general principles underlying new media:▪ Numerical representation: new media objects exist as data▪ Modularity: the different elements of new media exist independently▪ Automation: new media objects can be created and modified automatically▪ Variability: new media objects exist in multiple versions▪ Transcoding: The logic of the computer influences how we understand and represent ourselves.

Telematics typically is any integrated use of telecommunications and informatics, also known as ICT (Information and Communications Technology). Hence the application of telematics is with any of the following:

Lexus Gen V navigation system▪ The technology of sending, receiving and storing information via telecommunication devices in conjunction with effecting control on remote

objects.▪ The integrated use of telecommunications and informatics, for application in vehicles and with control of vehicles on the move.▪ Telematics includes but is not limited to Global Positioning System technology integrated with computers and mobile communications technology

in automotive navigation systems.▪ Most narrowly, the term has evolved to refer to the use of such systems within road vehicles, in which case the term vehicle telematics may be

used.

Semantic modelsTerms such as "semantic network" and "semantic data model" are used to describe particular types of data models characterized by the use of directed graphs in which the vertices denote concepts or entities in the world, and the arcs denote relationships between them.The Semantic Web refers to the extension of the World Wide Web through the embedding of additional semantic metadata, using semantic data modelling techniques such as RDF and OWL.[edit]Psychology

In psychology, semantic memory is memory for meaning – in other words, the aspect of memory that preserves only the gist, the general significance, of remembered experience – while episodic memory is memory for the ephemeral details – the individual features, or the unique particulars of experience. Word meaning is measured by the company they keep, i.e. the relationships among words themselves in a semantic network. The memories may be transferred intergenerationally or isolated in a single generation due to a cultural disruption. Different generations may have different experiences at similar points in their own time-lines. This may then create a vertically heterogeneous semantic net for certain words in an otherwise homogeneous culture.[19] In a network created by people analyzing their understanding of the word (such as Wordnet) the links and decomposition structures of the network are few in number and kind, and include "part of", "kind of", and similar links. In automated ontologies the links are computed vectors without explicit meaning. Various automated technologies are being developed to compute the meaning of words: latent semantic indexing and support vector machines as well as natural language processing, neural networks and predicate calculus techniques.

Moral relativism may be any of several descriptive, meta-ethical, or normative positions. Each of them is concerned with the differences in moral judgments across different people and cultures:▪ Descriptive relativism describes the way things are, without suggesting a way they ought to be. It seeks only to point out that people frequently

disagree over what is the most 'moral' course of action.▪ Meta-ethical relativism is the meta-ethical position that the truth or falsity of moral judgments is not objective. Justifications for moral judgments

are not universal, but are instead relative to the traditions, convictions, or practices of an individual or a group of people.[1] The meta-ethical relativist might say "It's moral to me, because I believe it is".[2]

Normative relativism is the prescriptive or normative position that, because there is no universal moral standard by which to judge others, we ought to tolerate the behavior of others - even when it runs counter to our personal or cultural moral standards.[3] Most philosophers find that this position

is incoherent, or at least that it is unclear how meta-ethical relativism can lead to 'ought' statements.[3]

Social structureFrom Wikipedia, the free encyclopedia(Redirected from Social system)Jump to: navigation, search

Social structure (also referred to as a social system) is a system of social relations. Social structure does not concern itself with people - individuals forming the society or their social organisations, neither does it study who are the people/organisation forming it, or what is the ultimate goal of their relations. Social structure deals rather with the very structure of their relations—how are they organized in a patterns of relationships.

The concept of social structure was pioneered by 19th century German sociologist, Georg Simmel, who studied structure as an abstract concept.

Social structure presents an idea that society is grouped into structures with different functions, meanings or purposes. Family, religion, law, economy and class are all social structures. This is related to the idea of "social stratification," which refers to the idea that society is separated into different strata, according to social distinctions such as a race, class and gender. Social treatment of persons within various social structures can be understood as related to their placement within the various social strata.

For example, some argue that men and women who have otherwise equal qualifications receive different treatment in the workplace because of their gender. Others note that individuals are sometimes viewed as having different essential qualities based on their race and ethnicity, regardless of their individual qualities. When examined, these social distinctions are often considered stereotypes based on prejudice. However, these social distinctions often go unexamined because they appear to be the result of social structures rather than prejudice.

Some believe that social structure is naturally developed. It may be caused by larger system needs, such as the need for labour, management, professional and military classes, or by conflicts between groups, such as competition among political parties or among elites and masses. Others believe that this structuring is not a result of natural processes, but is socially constructed. It may be created by the power of elites who seek to retain their power, or by economic systems that place emphasis upon competition or cooperation.

Social structure can be divided into microstructure and macrostructure. Microstructure is the pattern of relations between most basic elements of social life, that cannot be further divided and have no social structure of their own (for example, pattern of relations between individuals in a group composed of individuals - where individuals have no social structure, or a structure of organizations as a pattern of relations between social positions or social roles, where those positions and roles have no structure by themselves). Macrostructure is thus a kind of 'second level' structure, a pattern of relations between objects that have their own structure (for example, a political social structure between political parties, as political parties have their own social structure). Some special types of social structures that modern sociologist differentiate are relation structures (in family or larger family-like clan structures), communication structures (how information is passed in organizations) and sociometric structures (structures of sympathy, antipathy and indifference in organisations - this was studied by Jacob Moreno).

Sociologists also distinguish between:

* normative structure - pattern of relations in given structure (organisation) between norms and modes of operations of people of varying social positions * ideal structure - pattern of relations between beliefs and views of people of varying social positions * interest structure - pattern of relations between goals and desires of people of varying social positions * interaction structure - forms of communications of people of varying social positions

Structures are important, as the actions of people and organisations are guided partially by the structural determination. Organisation structure determines its flexibity, capacity to change and many other factors, and is an important part of the management.

Social structure in the broader sense, known as social system can be viewed as a structure composed of the economic system, law system, political system, cultural system, etc. Thus social system is the parent system of those lower systems.[edit]

See also

Related ideas:

* Structure and agency * Conflict theory * Systems theory * Marxism * Norms * Structural functionalism * Theory of structuration * Values

Related theorists:

* Anthony Giddens * Emile Durkheim * Karl Marx * Max Weber * Robert K. Merton

[edit]

References

Aesthetic universals

The philosopher Denis Dutton identified seven universal signatures in human aesthetics:[58]▪ Expertise or virtuosity. Humans cultivate, recognize, and admire technical artistic skills.▪ Nonutilitarian pleasure. People enjoy art for art's sake, and don't demand that it keep them warm or put food on the table.▪ Style. Artistic objects and performances satisfy rules of composition that place them in a recognizable style.▪ Criticism. People make a point of judging, appreciating, and interpreting works of art.▪ Imitation. With a few important exceptions like abstract painting, works of art simulate experiences of the world.▪ Special focus. Art is set aside from ordinary life and made a dramatic focus of experience. –Wikepedia

The Experience of Others:

how individuals interpret the traits and actions of other individuals.1. Pure relationship is free floating.2. Pure relationship is sought only for what it can bring to the partners. 3. Pure relationship os reflexively organised, and on a continuous basis.3. Commitment replaces the external anchors that close personal connections used to have.4. Pure relationship is focused on intimacy.5. PR is negotiated through linked processes of self exploration and intimacy.

1. Lifespan becomes structured around ‘open experience thresholds’, rather than ritualised passages.

2. Modernity towards control as the sequestration of experience. Modern institutions extened the administrative power brought about by accelerating processes of surveillance.

3. Day-to-day social life becomes sequestered from:

Madness, Criminality, Sickness and Death, Sexuality, Nature.

Dilemmas of the Self:

Unification versus fragmentation: ...contextual happenings and forms of mediated experience, through which a course must be charted.

powerlessness versus appropriation: the lifestyle options made available by modernity offer many opportunities of appropriation, but also feelings of powerlessness.

Authority versus uncertainty: in circumstances in which there are no final authoritiees, the reflexive project of the self must steer a way between commitment and uncertainty.

Personalised versus commodified experience: the narrative of the self must be constructed in circumstances in which personal appropriation is influenced by standardised influences on consumption.

Exsistence: Survival and Being,nature, What responsibilites do humans have towrds Nature?

Finitude: Transcendence, Reproduction. right of the unborn and genetic engineering?

Individual and communal life: Cooperation, Global systems. what are the limits on scientifi?tech. innovation? What are the limits placed on the use of violence in human affairs?

Self-identity: Personhood, self and body. What rights does the individual have over her/his body?what, if any, gender differences should be preserved? what rights do animals have?

Ideological and repressive aparatuses: 1. At fateful moments. 2. Decarceration. 3. Core of sexual behaviour. Passion has become privatised, Sexuality has become separated from procreation, and therefore from the cosmic processes of life and death. Sexuality both repudiates, and gives substantive form to the involvement off human life with morally transcendent conditions and experiences. 4. Reconstruction of ‘tradition’. 5. Religious over use.

AsynchronyFrom Wikipedia, the free encyclopedia (Redirected from Asynchronous)Asynchrony, in the general meaning, is the state of not being synchronized.▪ Asynchronous learning▪ Collaborative editing systemsIn specific terms of digital logic and physical layer of communication, an asynchronous process does not require a clock signal, in contrast with synchronous and plesiochronous systems.▪ Asynchronous circuit▪ Asynchronous system▪ Asynchronous serial communication▪ Asynchronous serial interfaces▪ Asynchronous Cellular AutomatonAt the higher data link layer of communication, asynchrony is synonym of statistical multiplexing, such as in packet mode. The information transmission may or may not start immediately as requested by sender, the additional delay being caused by medium congestion. Contrast with example of circuit switched communication, which (once circuit is established) allows immediate start of transfer with a guaranteed bit rate. Confusingly, a communication is often synchronous at the physical layer, while being asynchronous at the data link layer.▪ Asynchronous Transfer Mode▪ Packet switched systems such as Ethernet or IPIn programming, asynchronous events are those occurring independently of the main program flow. Asynchronous actions are actions executed in a non-blocking scheme, allowing the main program flow to continue processing.[1]▪ Asynchronous I/O▪ Asynchronous application programming interfaces (APIs)▪ Asynchronous Method Dispatch (AMD)▪ Ajax, asynchronous JavaScript and XMLIn electric motors, an asynchronous motor is a variant where the electromagnetic field turns with a different (higher) speed than the rotor; the difference is called slip.






BRAIN IN VAT/RAT IN CAGE:

Brain in the vat floats. The palace of the tantric mandalla expands…extrudes. Conflates into the fourth dimension. Time. It now has time fullness. The yantra moves upward the tornado move downward. It touches and implodes everything in its path. The air of the human body feels the still and then the sucking moments after it is churned with steel and stick, and shrapnel debris in the vortex of nothing. Implosion. The air is sucked out of the victim and she had been taught to suck in air as a mindful yoga practitioner. You breathe in your last breath as you huddle in the basement on the prairie. You are in that moment between life and death. The funnel is right above you churning everything and it will suck you out…there is little hope of endurance. You are going mad trying to take the ‘right’ breath of the mind-full living. Contrary to your life is peace. Contrasting it is suffering. Contradicting it is death. You are hamlet stabbed in act five. You are king Lear on the heath coming the suicide of the sane. You are the kamikaze in the battle of Okinawa plowing your craft into a destroyer. There is a type of peace between suffering and death. You are aiming right for it. You have no choice with the funnel cloud above you. You cling to a film image that has stopped. You are the rat in the oasis maze and you move only by intuition. You are the brain in the vat thinking of it all and knowing that you will be back…the eternal return. Perhaps you will be back to this moment. Always. Like a flash. Like an oasis maze. Seeking in a type of bliss of frustration. The basement is not safe…you are sucked out into the lathe. The poison stab is mortal…you will know peace in painful decline. You see the confluence of the ideal and the image. The movie flickering has stopped. The hot bulb sees only one frame…that sees it? The hot bulb burns. The audience gasps and some laugh…. then…. out.

THE DEATH OF MAGIC/THE BIRTH OF THE SUBTLE FACE:

PETER BROOK ‘EMPTY SPACE’/AUGUSTO BOAL’S ‘CROWDSOURCE’:

McLuhan claims that the ten thunders in Wake represent different stages in the history of man:[57]▪ Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals.▪ Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression.▪ Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life.▪ Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power.▪ Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors.▪ Thunder 6: Industrial Revolution. Extreme development of print process and individualism.▪ Thunder 7: Tribal man again. All chor-actors end up separate, private man. Return of choric.▪ Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound.▪ Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death.▪ Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile

man.[edit]

The principles of new media

In his 2001 book, The Language of New Media, Manovich describes the general principles underlying new media:▪ Numerical representation: new media objects exist as data▪ Modularity: the different elements of new media exist independently▪ Automation: new media objects can be created and modified automatically▪ Variability: new media objects exist in multiple versions▪ Transcoding: The logic of the computer influences how we understand and represent ourselves.

Telematics typically is any integrated use of telecommunications and informatics, also known as ICT (Information and Communications Technology). Hence the application of telematics is with any of the following:

Lexus Gen V navigation system▪ The technology of sending, receiving and storing information via telecommunication devices in conjunction with effecting control on remote

objects.▪ The integrated use of telecommunications and informatics, for application in vehicles and with control of vehicles on the move.▪ Telematics includes but is not limited to Global Positioning System technology integrated with computers and mobile communications technology

in automotive navigation systems.▪ Most narrowly, the term has evolved to refer to the use of such systems within road vehicles, in which case the term vehicle telematics may be

used.

Semantic modelsTerms such as "semantic network" and "semantic data model" are used to describe particular types of data models characterized by the use of directed graphs in which the vertices denote concepts or entities in the world, and the arcs denote relationships between them.The Semantic Web refers to the extension of the World Wide Web through the embedding of additional semantic metadata, using semantic data modelling techniques such as RDF and OWL.[edit]Psychology

In psychology, semantic memory is memory for meaning – in other words, the aspect of memory that preserves only the gist, the general significance, of remembered experience – while episodic memory is memory for the ephemeral details – the individual features, or the unique particulars of experience. Word meaning is measured by the company they keep, i.e. the relationships among words themselves in a semantic network. The memories may be transferred intergenerationally or isolated in a single generation due to a cultural disruption. Different generations may have different experiences at similar points in their own time-lines. This may then create a vertically heterogeneous semantic net for certain words in an otherwise homogeneous culture.[19] In a network created by people analyzing their understanding of the word (such as Wordnet) the links and decomposition structures of the network are few in number and kind, and include "part of", "kind of", and similar links. In automated ontologies the links are computed vectors without explicit meaning. Various automated technologies are being developed to compute the meaning of words: latent semantic indexing and support vector machines as well as natural language processing, neural networks and predicate calculus techniques.

Moral relativism may be any of several descriptive, meta-ethical, or normative positions. Each of them is concerned with the differences in moral judgments across different people and cultures:▪ Descriptive relativism describes the way things are, without suggesting a way they ought to be. It seeks only to point out that people frequently

disagree over what is the most 'moral' course of action.▪ Meta-ethical relativism is the meta-ethical position that the truth or falsity of moral judgments is not objective. Justifications for moral judgments

are not universal, but are instead relative to the traditions, convictions, or practices of an individual or a group of people.[1] The meta-ethical relativist might say "It's moral to me, because I believe it is".[2]

Normative relativism is the prescriptive or normative position that, because there is no universal moral standard by which to judge others, we ought to tolerate the behavior of others - even when it runs counter to our personal or cultural moral standards.[3] Most philosophers find that this position

is incoherent, or at least that it is unclear how meta-ethical relativism can lead to 'ought' statements.[3]

Social structureFrom Wikipedia, the free encyclopedia(Redirected from Social system)Jump to: navigation, search

Social structure (also referred to as a social system) is a system of social relations. Social structure does not concern itself with people - individuals forming the society or their social organisations, neither does it study who are the people/organisation forming it, or what is the ultimate goal of their relations. Social structure deals rather with the very structure of their relations—how are they organized in a patterns of relationships.

The concept of social structure was pioneered by 19th century German sociologist, Georg Simmel, who studied structure as an abstract concept.

Social structure presents an idea that society is grouped into structures with different functions, meanings or purposes. Family, religion, law, economy and class are all social structures. This is related to the idea of "social stratification," which refers to the idea that society is separated into different strata, according to social distinctions such as a race, class and gender. Social treatment of persons within various social structures can be understood as related to their placement within the various social strata.

For example, some argue that men and women who have otherwise equal qualifications receive different treatment in the workplace because of their gender. Others note that individuals are sometimes viewed as having different essential qualities based on their race and ethnicity, regardless of their individual qualities. When examined, these social distinctions are often considered stereotypes based on prejudice. However, these social distinctions often go unexamined because they appear to be the result of social structures rather than prejudice.

Some believe that social structure is naturally developed. It may be caused by larger system needs, such as the need for labour, management, professional and military classes, or by conflicts between groups, such as competition among political parties or among elites and masses. Others believe that this structuring is not a result of natural processes, but is socially constructed. It may be created by the power of elites who seek to retain their power, or by economic systems that place emphasis upon competition or cooperation.

Social structure can be divided into microstructure and macrostructure. Microstructure is the pattern of relations between most basic elements of social life, that cannot be further divided and have no social structure of their own (for example, pattern of relations between individuals in a group composed of individuals - where individuals have no social structure, or a structure of organizations as a pattern of relations between social positions or social roles, where those positions and roles have no structure by themselves). Macrostructure is thus a kind of 'second level' structure, a pattern of relations between objects that have their own structure (for example, a political social structure between political parties, as political parties have their own social structure). Some special types of social structures that modern sociologist differentiate are relation structures (in family or larger family-like clan structures), communication structures (how information is passed in organizations) and sociometric structures (structures of sympathy, antipathy and indifference in organisations - this was studied by Jacob Moreno).

Sociologists also distinguish between:

* normative structure - pattern of relations in given structure (organisation) between norms and modes of operations of people of varying social positions * ideal structure - pattern of relations between beliefs and views of people of varying social positions * interest structure - pattern of relations between goals and desires of people of varying social positions * interaction structure - forms of communications of people of varying social positions

Structures are important, as the actions of people and organisations are guided partially by the structural determination. Organisation structure determines its flexibity, capacity to change and many other factors, and is an important part of the management.

Social structure in the broader sense, known as social system can be viewed as a structure composed of the economic system, law system, political system, cultural system, etc. Thus social system is the parent system of those lower systems.[edit]

See also

Related ideas:

* Structure and agency * Conflict theory * Systems theory * Marxism * Norms * Structural functionalism * Theory of structuration * Values

Related theorists:

* Anthony Giddens * Emile Durkheim * Karl Marx * Max Weber * Robert K. Merton

[edit]

References

Aesthetic universals

The philosopher Denis Dutton identified seven universal signatures in human aesthetics:[58]▪ Expertise or virtuosity. Humans cultivate, recognize, and admire technical artistic skills.▪ Nonutilitarian pleasure. People enjoy art for art's sake, and don't demand that it keep them warm or put food on the table.▪ Style. Artistic objects and performances satisfy rules of composition that place them in a recognizable style.▪ Criticism. People make a point of judging, appreciating, and interpreting works of art.▪ Imitation. With a few important exceptions like abstract painting, works of art simulate experiences of the world.▪ Special focus. Art is set aside from ordinary life and made a dramatic focus of experience. –Wikepedia

The Experience of Others:

how individuals interpret the traits and actions of other individuals.1. Pure relationship is free floating.2. Pure relationship is sought only for what it can bring to the partners. 3. Pure relationship os reflexively organised, and on a continuous basis.3. Commitment replaces the external anchors that close personal connections used to have.4. Pure relationship is focused on intimacy.5. PR is negotiated through linked processes of self exploration and intimacy.

1. Lifespan becomes structured around ‘open experience thresholds’, rather than ritualised passages.

2. Modernity towards control as the sequestration of experience. Modern institutions extened the administrative power brought about by accelerating processes of surveillance.

3. Day-to-day social life becomes sequestered from:

Madness, Criminality, Sickness and Death, Sexuality, Nature.

Dilemmas of the Self:

Unification versus fragmentation: ...contextual happenings and forms of mediated experience, through which a course must be charted.

powerlessness versus appropriation: the lifestyle options made available by modernity offer many opportunities of appropriation, but also feelings of powerlessness.

Authority versus uncertainty: in circumstances in which there are no final authoritiees, the reflexive project of the self must steer a way between commitment and uncertainty.

Personalised versus commodified experience: the narrative of the self must be constructed in circumstances in which personal appropriation is influenced by standardised influences on consumption.

Exsistence: Survival and Being,nature, What responsibilites do humans have towrds Nature?

Finitude: Transcendence, Reproduction. right of the unborn and genetic engineering?

Individual and communal life: Cooperation, Global systems. what are the limits on scientifi?tech. innovation? What are the limits placed on the use of violence in human affairs?

Self-identity: Personhood, self and body. What rights does the individual have over her/his body?what, if any, gender differences should be preserved? what rights do animals have?

Ideological and repressive aparatuses: 1. At fateful moments. 2. Decarceration. 3. Core of sexual behaviour. Passion has become privatised, Sexuality has become separated from procreation, and therefore from the cosmic processes of life and death. Sexuality both repudiates, and gives substantive form to the involvement off human life with morally transcendent conditions and experiences. 4. Reconstruction of ‘tradition’. 5. Religious over use.

AsynchronyFrom Wikipedia, the free encyclopedia (Redirected from Asynchronous)Asynchrony, in the general meaning, is the state of not being synchronized.▪ Asynchronous learning▪ Collaborative editing systemsIn specific terms of digital logic and physical layer of communication, an asynchronous process does not require a clock signal, in contrast with synchronous and plesiochronous systems.▪ Asynchronous circuit▪ Asynchronous system▪ Asynchronous serial communication▪ Asynchronous serial interfaces▪ Asynchronous Cellular AutomatonAt the higher data link layer of communication, asynchrony is synonym of statistical multiplexing, such as in packet mode. The information transmission may or may not start immediately as requested by sender, the additional delay being caused by medium congestion. Contrast with example of circuit switched communication, which (once circuit is established) allows immediate start of transfer with a guaranteed bit rate. Confusingly, a communication is often synchronous at the physical layer, while being asynchronous at the data link layer.▪ Asynchronous Transfer Mode▪ Packet switched systems such as Ethernet or IPIn programming, asynchronous events are those occurring independently of the main program flow. Asynchronous actions are actions executed in a non-blocking scheme, allowing the main program flow to continue processing.[1]▪ Asynchronous I/O▪ Asynchronous application programming interfaces (APIs)▪ Asynchronous Method Dispatch (AMD)▪ Ajax, asynchronous JavaScript and XMLIn electric motors, an asynchronous motor is a variant where the electromagnetic field turns with a different (higher) speed than the rotor; the difference is called slip.




http://en.wikipedia.org/w/index.php?title=Marshall_McLuhan&action=edit&section=12

http://en.wikipedia.org/w/index.php?title=Marshall_McLuhan&action=edit&section=12

http://en.wikipedia.org/w/index.php?title=Numerical_representation&action=edit&redlink=1

http://en.wikipedia.org/w/index.php?title=Numerical_representation&action=edit&redlink=1

http://en.wikipedia.org/wiki/Modularity_(programming)

http://en.wikipedia.org/wiki/Modularity_(programming)

http://en.wikipedia.org/wiki/Automation

http://en.wikipedia.org/wiki/Automation

http://en.wikipedia.org/wiki/Variability

http://en.wikipedia.org/wiki/Variability

http://en.wikipedia.org/wiki/Transcoding

http://en.wikipedia.org/wiki/Transcoding



THE GREEK VIEW OF THE UNKNOWN/MEANING AND VALUE

EARLY MONOTHEISTIC VIEWS UNKNOWN/MEANING AND VALUE

DOMINANT THOUGHT AND NARRATIVE CULTURE

SOPHOCLES, PLATO,

THE CRUST

THE CORE

AUGUSTINE, ‘EVERYMAN’






RENAISSANCE EUROPE: PERPECTIVAL FRAMES AND HAPPY AGNOSTICS

EARLY AND LATE MODERNIST: UNEASY ATHEISTS AND TECHNOCRATS. LAGUAGE AND LIBERATORY LIFE ON ‘THE CRUST’


SHAKESPEARE, DANTE,KANT, MARX, FREUD, GOETHE, IBSEN, WAGNER, BRECHT, SARTRE

SCIENCE

ART






POST MODERN VIEW: NIHILISM AND THE DIVERSE PATHOS

THE TELEMODERN: MASS CUSTOMIZATION AND LIVING THE ARCHIVE TO MAKE ‘THE MEANING’ THE MONSTER IS THE TELEMATIC AI

DOMINANT THOUGHT AND NARRATIVE CULTUREBECKETT, NIETZSCHE, BARTHES, LYOTARD

de CHARDIN, BAUMAN, YOUTUBE, TELEPHONY, NETWORK PERFORMANCE, OF-THE-HOOK SOCIAL MEDIA

THE CRUST THE CORE THE MONSTER

ART

SCIENCEART






THE SELF AND THE OTHERTHE TELEMODERN: MASS CUSTOMIZATION AND LIVING THE ARCHIVE TO MAKE ‘THE MEANING’

DOMINANT THOUGHT AND NARRATIVE CULTURE KURTZWEIL AND TECHIE UTOPIANS VS.

LANIER

THE CRUST THE CORE THE MONSTEREMPATHY

THE SELF THE OTHER

THE ENVELOPING OTHER

TELEMATICS






MACHINE PROSTHETIC THE HUMAN PARASITE


TELE PHENOMENOLOGISTS, TELE ROMANTICS

SCIENCE THE OTHER

TECHNOCRATS, POSITIVISTS

THE OTHER




MIND OF THE MEDIEVAL: AI [email protected]

ZOMBIE LEMMINGS ON THE HIGH CLIFFS OF HEGEL

For U.S. contact: Prof. Phillip Baldwin ([email protected]). 917.385.2446

Friday, June 5, 2009


P H I L L I P . B A L D W I N @ G M A I L . C O M

WE ARE ALL FERAL IN THE MIND




FIVE OR SIX TRANSMEDIA [email protected]

FIVE OR SIX TRANSMEDIA PROJECTS

1. DOPPELGANGER SHADOW


With the use of video mapping on moving objects (a combination of module 8, mad mapper, and the kinect) an actor moves about the stage acting out a play about a ‘doppelganger’. This could be portrait of Dorian Gray, secret sharer, or Jekyll and Hyde. As the actor moves about the stage the shadow follows him with low lighting angles. This shadow is filled in with prepared films of his ‘double’…. if he is good…. the video is wicked.


With the use of video mapping we can come into a new dimension with the attending visual culture: the visual and moving image that attends the action, voice, and the presence of the actor is ‘filled in’ with a contrast and binary. We see the play of opposites within the stage of the expressionist lighting.


This project must involve the use of mad mapper, module 8, and the kinect.


The scenography of the set becomes a much more dynamic element to the action, voice, and text of the given piece.

2. THOUGHT STREAMS


Using t. Martinez’s Max patch we view the flow of film across the stage. And actor sits in a chair and has an Emotiv cap on. With this emotiv the actor moves the band of selected video or film across the stage in a line with his or her attendant emotiions moving through the emotive to the command of the timing within the film.


The actor sits and recites lines. The film moves around and then is triggered by specific, or near specific, emotions that stops the film to play in one area.


Video stills are prepared and then the emotive is conditions to respond to various ‘stopping points’ with the film.


These new, very striking interfaces demonstrate the ability of interface and interaction to present …or make manifest…the inner motivation and feeling of the actor. …And, by extension…the veracity of the script. What is the different unlocking of the meaning of the arbitrary sound of a word and the image it conjures? This play demonstrates the fragile notion between inner meaning and outward manifestation of the spoken and acted word.

3. CORNERS OF THE PANOPTICON

IDEA – the concept or artistic impetus behind the work:This is a project to mount a series of projections within an ancient panoptical prison. Within the roundness of the space tape is placed in a series of angles. Within this cordoned off areas the video projection hits.


The task is to set a performance within a round panopticon. …Or something like a panopticon. This plays on the sense that the central position of the observer as guard, punitive police, and some ‘other’ who enters into the mind and self-surveilling attitude of the ‘observed’ or self.

DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work:

This involves the video mapping of the mad mapper. The film hits the arbitrary corners of select spaces.


The ‘roundness becomes fragmented. The self becomes projected.

4. WHEN CINEMA WAS RELIGIOUS


Gone are the days of the cinema art house. Many of us grew up with the ‘sermon’ of cinema aesthetics as a perfected ritual, pilgrimage, and a curious reverent spectacle that we had to drive to, pay, and toil to attend…. often to the derision of our peers. In this era of streaming Netflix this is gone. This project makes use of video mapping to project some of the classic avant guard films of the sixties on the shadows of multiple characters on the stage. The combination of seeing these films as moving, moving in position, and moving in combination to each other is, and will bring up, a great impact of an era that tied great cinema to a public space of reverence. The art house cinema took over from the small experimental ‘theater of ideas’ and it, too has faced extinction. Why do we like seeing actions in the field of our mirror neurons? This remains a mystery in the era of smart phones.




DILDO CINEMA

IDEA – the concept or artistic impetus behind the work:Using a designer dildo we insert it into the vagina of an actress on stage. This dildo is conditioned with sensors so that it then plays various tones, sounds, and film behind and around the short expanse of the dildo. The actress can improvise on the nature of pleasure, the patriarchy, and the notion of technology as opiate.




VITRUVIAN CORNER


The stage, the space, is a confrontation between the vertical plane and the horizontal. Does the volume between each imply an entity? A mass of nothing? Is it supposed to be filled with the dynamic actions of an actor or should it be empty, silent, and still. This project explores through video mapping, sound created through movement, the relationship of the vertical wall to the horizontal, and the intrusion, the parasitic inhabitation, and the foreignness of the human moving within that dialog.




THE CITY AS BLANKET OF CINEMA


On the stage there is a large, small-scale model. There is a video projector facing downward. This covers the whole model. Within the bumps and edges of the video mapping the video moves across the small scale ‘landscape’ of the city. The actor moves across these citing lines…like a giant Godzilla.








3. CORNERS OF THE PANOPTICON

IDEA – the concept or artistic impetus behind the work:This is a project to mount a series of projections within an ancient panoptical prison. Within the roundness of the space tape is placed in a series of angles. Within this cordoned off areas the video projection hits.


The task is to set a performance within a round panopticon. …Or something like a panopticon. This plays on the sense that the central position of the observer as guard, punitive police, and some ‘other’ who enters into the mind and self-surveilling attitude of the ‘observed’ or self.

DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work:

This involves the video mapping of the mad mapper. The film hits the arbitrary corners of select spaces.


The ‘roundness becomes fragmented. The self becomes projected.

4. WHEN CINEMA WAS RELIGIOUS


Gone are the days of the cinema art house. Many of us grew up with the ‘sermon’ of cinema aesthetics as a perfected ritual, pilgrimage, and a curious reverent spectacle that we had to drive to, pay, and toil to attend…. often to the derision of our peers. In this era of streaming Netflix this is gone. This project makes use of video mapping to project some of the classic avant guard films of the sixties on the shadows of multiple characters on the stage. The combination of seeing these films as moving, moving in position, and moving in combination to each other is, and will bring up, a great impact of an era that tied great cinema to a public space of reverence. The art house cinema took over from the small experimental ‘theater of ideas’ and it, too has faced extinction. Why do we like seeing actions in the field of our mirror neurons? This remains a mystery in the era of smart phones.




DILDO CINEMA

IDEA – the concept or artistic impetus behind the work:Using a designer dildo we insert it into the vagina of an actress on stage. This dildo is conditioned with sensors so that it then plays various tones, sounds, and film behind and around the short expanse of the dildo. The actress can improvise on the nature of pleasure, the patriarchy, and the notion of technology as opiate.




VITRUVIAN CORNER



















VITRUVIAN CORNER















DIMENSIONAL METHODS1D 2D 3D 4D

discussion document: prof. phillip [email protected]. 917.385.2446

20

CLASS PARADIGMS

WITNESSING

AUTHORITY RANKING

IMPERATIVES

COMMUNITY SHARING EQUALITY MAKING

MARKET PRICING




EQUALITY

MAKING

MARKET PRICING

COMMUNITY

MAKINGAUTHORITY

RANKING



1 DIMENSION 2 DIMENSIONS 3 DIMENSIONS 4 DIMENSIONS

THINKING

URBAN SUSTAINABLE

GLOBAL EDUCATION

PERSONAL ARTISTIC GRANT

GRAD SCHOOL APP

DIGITAL ARCHIVES

CULTURAL PRODUCTION GROUP (ART, EXHIBITION, WORKSHOP)

INFRASTRUCTURE GRANT

TRAVEL GRANT

GLOBAL SUSTAINABLE

TECH AND EDUCATION

SUSTAIN CULTURAL HERITAGE

HEALTH AND MEDICALARCH.URBANISM.AFFORDABLE HOUSING

WORKSHOP, LECTURES, SYMPOSIA, STUDIES.

PUBLISHING/MEDIA DEVELOPMENT

EVENT/SPECTACLE

THE INTENTIONAL COMMUNITY

ONLINE EDUCATION AND DEVELOPMENT

NGO/NFP MODULAR COMPONENT

DRAWING

WRITING

CLAY

CAD/FABER

GAME/MOVEMENT

STORY/SUSTAINABLE




EQUALITY

MAKING

MARKET PRICING

COMMUNITY

MAKINGAUTHORITY

RANKING



1 DIMENSION 2 DIMENSIONS 3 DIMENSIONS 4 DIMENSIONS

THINKING

EVENT/SPECTACLE: EXHIBTION, ANIMATIONDRAWING

WRITING

CLAY

CAD/FABER

GAME/MOVEMENT

STORY/SUSTAINABLE

EVENT/SPECTACLE: READING,LECTURE,ONLINE

EVENT/SPECTACLE: METHOD, CUISINE, RITUAL

EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION


EVENT/SPECTACLE: LECTURE,ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION


PROJECT

PROJECT

PROJECT

PROJECT

PROJECTPROJECT PROJECT PROJECT

PROJECT

PROJECT

PROJECT

PROJECT

ASYNCHRONOUS AND SYNCHRONOUS PROJECTS

VOICE RECORDER SKETCH BOOK CLAY/BODY/COMPUTER FILM CAMERA/COMPUTER
















SHADOW PROJECT

REAL-TIME VIDEO MAP TO BODYREAL-TIME VIDEO MAP TO SHADOW:FILL IN WITH MOTAGE OF IMAGES






KINECT AND THE CORRECT POSURE:COLORS AND VIBRATIONS

THE PROGRAM MOVES CHAKRASALIGN TO EIGHT CHAKRAS

SERPENTINEMOVEMENT?

KINECT AND FILM SEQUENCES:SHOT, SEQUENCE, SCENE, MONTAGE, FLASHBACK, TEMPO, ARCH. BREAK THISINTO GRAMMAR

CINEMA AND THE BODY







CINEMA AND THE BODY

FILM IS LOADED INTO THE FREYTAG’S ARCH SO THAT THERE IS A COMBINATION OF TIME AND DYNAMIC VARIANCE







FILM AS IMPLIED SOUND: USING FILM SCORES IN COMBINATION/CONTRAST WITH THE DRAMA.

FILM SCORES ARE LOADED INTO THE FREYTAG’S SYSTEM.

SCORES






KINECT AND THE CORRECT POSURE:COLORS AND VIBRATIONS

THE PROGRAM MOVES CHAKRASALIGN TO EIGHT CHAKRAS

SERPENTINEMOVEMENT?

KINECT AND SYMPONIC SEQUENCES:PITCH, MELODY, HARMONY, TIMBRE, DYNAMICS, TEMPO, VOLUMEINTO GRAMMAR

SYMPHONIC HARMONIES AND THE BODY






THE PROGRAM MOVES CHAKRAS

KINECT AND SYMPONIC SEQUENCES:PITCH, MELODY, HARMONY, TIMBRE, DYNAMICS, TEMPO, VOLUMEINTO GRAMMAR

SYMPHONIC HARMONIES AND THE BODY




discussion document: prof. phillip baldwin. [email protected].

CORIOLANUS, BELIEF, ACTION31




NEW INTERFACE BETWEEN ARCHIVE AND SIMULATION

[email protected]/917 385 2446 32





THE TENSION BETWEEN REAL TIME AND ARCHIVE.





[email protected]/917 385 2446






35






36





[email protected]/917 385 2446




ALL S IS P

SOME S IS P

NO S IS P

SOME S IS NOT P

A discussion and lecture document: Prof. Phillip Baldwin ([email protected]) 917.385.2446

MOVE LAB AND DEVICES

PERSONAL ARTISTIC GRANT

INFRASTRUCTURE GRANT

DIGITAL ARCHIVES




EXCRETE A COMMODITY, SOME SEMIOTICS

[email protected]




COMMUNITY SHARING EQUALITY MAKING

AUTHORITY RANKING MARKET PRICING

the four social algorithms


Binarism in Representation


NOTES FOR ASSISTANTS

[email protected]/917 385 2446 42

AR KIN EMO

AR AR AR AR AR AR AR

AR AR AR AR

EMO

EMO

EMO

EMO

EMO

KIN

KIN

KIN

KIN KIN KIN

AR AR AR

AR

AR

AR EMO

EMO

EMO

EMO

KIN

KIN

KIN

KIN

AR

EMO

EMO

KIN





BIG ALGORITHMS OF GENDER43





BIG ALGORITHMS OF GENDER44





[email protected]





[email protected]




TASK NOTES FOR [email protected] 47

















[email protected]




Self Improvement

Prosthetic lecture.a copy 5