We collaborate here...definition: "In the mediatrix, you throw yourself to others. You create through others. The media philosopher realizes painfully that she must sacrifice her beloved cogito, her cherished institutionalism, her age-old desire for total control to a communal process-in-the-making" (Mark Taylor_Esa Saarinen, _Imagologies_ 8)
Collaboratory, as defined by William Wulf in 1989, is a “center without walls, in which the nation’s researchers can perform their research without regard to physical location, interacting with colleagues, accessing instrumentation, sharing data and computational resources, [and] accessing information in digital libraries” (Wulf, 1989, as cited in Cogburn, 2003, pp. 85-86).
Bly (1998) refines the definition to “a system which combines the interests of the scientific community at large with those of the computer science and engineering community to create integrated, tool-oriented computing and communication systems to support scientific collaboration” (Bly, 1998, p. 31).
Rosenberg (1991) considers a collaboratory as being an experimental and empirical research environment in which scientists work and communicate with each other to design systems, participate in collaborative science, and conduct experiments to evaluate and improve systems.
A simplified form of these definitions would describe the collaboratory as being an environment where participants make use of computing and communication technologies to access shared instruments and data, as well as to communicate with others. However, a wide-ranging definition is provided by Cogburn (2003) who states that “a collaboratory is more that an elaborate collection of information and communications technologies; it is a new networked organizational form that also includes social processes; collaboration techniques; formal and informal communication; and agreement on norms, principles, values, and rules” (Cogburn, 2003, p. 86).
@create $thing called peace
place peace in a room designed for that purpose.
Please spread the word and @create $thing called peace.
»les cités obscures«
AQ 435 = THE ORDER-WORD ASSEMBLAGE = AQUASSASSINS OF HYPER-C = DE-OEDIPALIZED SENTIENCES = ELEGANT MATHEMATICAL MODEL = PRODUCTIVITY GROWTH = PSYCHIC TELEPATHIC ORGAN = THE DARK NIGHT OF THE SOUL.
Imagologies is an enormous stack of slogans, statements, oracles, confessionals, questions and ukases about the role of the (new, mostly) media. The bits of text are often only a few lines long and impossible to assemble into one narrative. Because the book is printed and bound, an order is imposed, but it is rather an arbitrary one. Today's reader, after all, is used to reading books in every way except from front to back, so one adjusts quite easily to Imagologies. Unfortunately there is no index, an instrument that somewhat eases criss-cross reading + Esa Saarinen suggests a somewhat different tactic: Shock-effect reading, that is what I would recommend. Hypertextual reading, in the sense in which you jump around at will in a given textmass, not necessarily intending to grasp the truth, the whole truth and nothing but the truth. Instead, you just pump gas in your engine. He has also used this principle in his classes, with what he calls 'excellent results', because the students care as little for reading as he does himself. He works as follows: students are given a photocopy of a random page from a random book and must let the book inspire them to comment upon it. Through the limitation of that one photocopy it becomes possible to set aside the 'real' context of the text and to concentrate on one paragraph. Freed of the excess baggage formed by the complete book, it becomes much simpler to generate commentary as a reader; or, better yet, to write further + Nonlinear, fragmentary and jumpy though the book may be, a series of ideas are developed here into theoretical concepts and commentaries. The most important is 'imagologies', for which the book is named. The basis of this concept consists of the observation that since image has displaced print as the primary medium for discourse, the public use of reason can no longer be limited to print culture. To be effective, writing must become imagoscription that is available to everyone.
communism is a defining moment of double articulation; it is a moment of reinforcement, of repetition or redundancy production. It finds its distorted reversal in the ‘password’, inherent in every retrograde as its potentials for breaking open new zones of relations, rather than reaffirming (helping to lock in) the relations already in place. a crossover point not only for fiction and theory, but for everything that either doesn't know its place or is in the process of escaping it. whatever is emerging where authority is getting lost and middle men are being made redundant. the redundancy of the semiology is clearly visible in the machineries which give the teleonomic their force, that are the preconditions of those phrases being attached to those meanings in the first place. there is no one founding point or principle to be arrived at, though the zeitgeist has emerged as the locus of switchings between these paths, constitutive of both sub- and inter-personal levels.
the order-word assemblage
 [TRANS: Mot d'ordre: in standard French, "slogan," (military) "password." Deleuze and Guattari are also using the term literally: "word of order," in the double sense of a word or phrase constituting a command and a word or phrase creative of order.]
When the schoolmistress instructs her students on a rule of grammar or arithmetic, she is not informing them, any more than she is informing herself when she questions a student. She does not so much instruct as "insign," give orders or commands. A teacher's commands are not external or additional to what he or she teaches us. They do not flow from primary significations or result from information: an order always and already concerns prior orders, which is why ordering is redundancy. The compulsory education machine does not communicate information; it imposes upon the child semiotic coordinates possessing all of the dual foundations of grammar (masculine-feminine, singular-plural, noun-verb, subject of the statement-subject of enunciation, etc.). The elmentary unit of language—the statement—is the order-word. Rather than common sense, a faculty for the centralization of information, we must define an abominable faculty consisting in emitting, receiving, and transmitting order-words. Language is made not to be believed but to be obeyed, and to compel obedience.
A rule of grammar is a power marker before it is a syntactical marker.
Television companies possess extremely precise technical knowledge about this boundary and respect it less as an ethical taboo than they fear it as that fine line which, when crossed, leaves the viewer at a sudden loss for a pretext for watching. Images of manhunts and murder can only be comprehended up to a certain point with concepts. Then, the camera eye insistently focused on the mob or the marauding military legitimizes itself as a duty of testimony, is declared information, moral appeal. That outrage over injustice can only be invoked by means of vivid imagery is a thesis that has been tirelessly repeated ever since the war images from Vietnam plunged the American public into turmoil. And after the Signal Corps of the American army systematically photographed the liberated concentration camps in order to coerce the German populace into acknowledging the facts, the documentary image became an authority of historical judgment. Photography alone can develop sufficient power of evidence to portray the inconceivable. Even when the images have become spent and the possibilities of digital manipulation have rendered that evidence relative: the public judgment on violence is decided through the image, which makes a kind of consensus on faraway terrors possible.
The documentary photographer thereby becomes a designer of political allegories. He has to transform horrible occurrences into pleasurable lucidity. The more his image's aesthetic brilliance absorbs the violence it contains, the more suitable it is for high-gloss print. Political documentary photographs are mannerist. It is their theatrical stylization alone that integrates them into the procession of consumable illustrations. Their dramatic density saves the viewer time, while the image itself signifies a summary of events. For this reason, the war photographs of the documentary artistes in the larger press agencies constitute the very opposite of a firsthand observation. They are always entire, sentence-long statements - and not the representative moments in the larger chains of events that the ideology of classical war coverage claimed them to be. They redirect the gaze to an aesthetic gesture, by means of which the documentary photographer distills a unique peculiarity from the terror. Rhetorical finesse thus enables one to overcome the horror. At the same time, a competition over the iconography of evidence arises, as though the most conclusive visual vocabulary offered proof of the most real horror, or as though the most credible evidence grew out of the most beautiful image.
As is the case with pornography, a return to the amateur picture marks a temporary last stage in this evolution of stylization. Dramatization, when continuously overbid, evokes disgust. The mannerisms of a factuality that is professionally staged can only be surpassed by a rhetoric of the latest testimony. The image from inside the event, presented as an eyewitness' legacy, becomes especially precious. This video image, rendered shaky by the sheer pace of an unfolding occurrence, can provide the later consumer with the fantasy of really being there. If he were to be relocated to the site of the action, images of this sort would be the form of visual document he himself would have recourse to. Liberated from its professional staging, the image gives the illusion of unedited presence; it suggests direct involvement, as though in a natural disaster.
John Julius Norwich described Belgian architect Victor Horta as "undoubtedly the key European Art Nouveau architect". Born in Ghent, he was first attracted to the architectural profession when he helped his uncle on a building site at the age of twelve. He studied in Ghent, but left to become an interior designer living in Montmartre in Paris. There, he was inspired by the emerging impressionist and pointillist artists, and also by the possibilities of working in steel and glass + By 1885, Horta was working on his own, and designed three houses which were built that year. He then decided to avoid residential work for wealthy clients and instead devoted himself to competitions for public work, including statuary and even tombs. He focused on the curvature of his designs, believing that the forms he produced were highly practical and not artistic affectations. During this period, Horta socialised widely and joined the freemasons. This ensured a stream of clients when he returned to designing housing and shops from 1893 + After Art Nouveau lost favor, many of Horta's buildings were destroyed, most notably the Maison du Peuple (1896-1909) built for the progressive political party, the Parti Ouvrier Belge and demolished in 1965. Four of his private houses (hôtels) were designated as a UNESCO World Heritage Site: Hôtel Tassel, Hôtel Solvay, Hôtel van Eetvelde & Maison and Atelier Horta (now the Horta Museum) + Belgian comic book artist & writer François Schuiten & Benoît Peeters restored the Maison Autrique + asteroid #2913-HORTA named in his honor.
asteroid #2913-HORTA discovered 12-Oct-1931 by Belgian astronomer Eugène Delporte + Notable discoveries include 1221 AMOR (Amor asteroid family prototype), Apollo asteroid 2101 ADONIS and MAXIMILIANA, APHRODITE, BOURGEOIS & WARCK + In 1930 he fixed the modern boundaries between all of the constellations in the sky, along lines of right ascension and declination for the epoch B1875.0 + asteroid #1274-DELPORTIA named in his honor.
AQ 375 = @create $thing called peace = BACTERIAL INTELLIGENCE = IT JUST GOES ON AND ON = MAKING GOOD THICKNESS = MULTICULTURALIST = NE SORGA, SNOTOR GUMA! = PLUTO'S DARK-BLUE DAZE = SEVEN AFRICAN POWERS = SLAVONIC BOOK OF ENOCH = STANDARD DEVIATION OF 3 = TELLURIAN BLASPHEMY.
AQ 211 = IMAGOLOGIES = NOMADOLOGY.
AQ 310 = MEDIAPHILOSOPHY = DELEUZE-GUATTARI.
AQ 356 = LAS CIUDADES OSCURAS = DELEUZE AND GUATTARI.
AQ 338 = LES CITES OBSCURES = COMMON PERCEPTION = FIRE AIR WATER EARTH = HORUS INVOCATION (Abuldiz Working).
AQ 382 = LA FRONTERA INVISIBLE (The Invisible Border) = FULLY CURVED LETTER = NEW COURSE OF EVENTS = PLUTOTECTONIC CULT = STOOPING STARLIGHT = SYMMETRY OF DESCENT.
AQ 358 = THE INVISIBLE BORDER = ABRAHAMIC MONOTHEISM = BUT A VOICE COMES NOW = DIGITAL PHILOSOPHY = THE ABULDIZ WORKING = THE 'THINGNESS' OF OIL = VYSPAROV LIBRARY.
AQ 274 = COLLABORATORY = CHURCH OF ENGLAND = COGNITIVISTS = CONJUGATED RING = ENGLISH ALPHABET = FANGED NOUMENON = GREAT HURRICANE = IT'S ALL IN THE EGG = LIFE EXTENSION = LUCIFER-GNOSIS = MULTI-AGENT GAME = NOTHING IS A KEY = PHALLIC APPROACH = POWER OF SIGNS = RESONANCE CASCADE = SOFTWAR AGENCY = SUPERNATURAL = SUPERPOWERS = THE POMEGRANATE = VAMPIRE NUMBER.
Conservation is more than simply downloading gigabytes of information onto a more durable carrier, it also means finding solutions for the uncovering of hundreds of thousands of messages, so that the fisherman in this ocean of information can also catch something edible in his nets.The existing tools, such as archie, gopher and veronica, cannot cope with such quantities. It is a matter of applying the traditional methods of imparting information to these enormous digital information pools, by means of automatic and semi-automatic methods. Moreover, we will set up an archive of electronic documents on the conflict in the former Yugoslavia, with the intention of publishing it on CD-ROM. It is no longer important by which carrier one generation eventually passes on its information to the next. We no longer collect the carriers, clay tablets, books or floppies, just the information.
"La frontera se mueve sin cesar, cambia tanto que se ha vuelto invisible…" —Mariscal Radisic
Nostalgia por los antiguos métodos, las arraigadas técnicas contraviniendo intereses políticos y una particular relación de amor por "los mapas" se puede ver en esta entrega de "Las ciudades oscuras". El leit motiv se encuentra en la cartografía y la necesidad de fijar límites, ya sea para ver hasta dónde podemos extender los reinos, hasta dónde alcanza nuestro mundo, nuestro poder y nuestros sueños. La historia comienza mostrándonos a Roland de Cremer, cartógrafo no titulado, llegando a la ciudad de Sodrovni, donde se encuentra el centro de cartografía de las ciudades oscuras, una cúpula de piedra, amarilla e inexpugnable en medio de un páramo sofocante, producto de ráfagas de viento cálido provenientes del desierto de los somonitas. "Lo que más me pesa es esta atmósfera confinada", piensa en un momento el protagonista, ilustrando así la situación de abandono del lugar.
Inexpugnable, decía, y de mayor dificultad aún el arribo para el protagonista, ya que paradójicamente, siendo estudiante de cartografía y proviniendo de una ilustre familia ligada a la actividad, goza de un pésimo sentido de orientación. En este álbum los autores vuelven a sumergirnos en su universo imaginario con gran virtud, creando atmósferas inquietantes tanto a nivel narrativo y visual. Llenando de detalles el relato, los que inevitablemente evocan de manera sutil aspectos reconocibles de la sociedad moderna. No en vano sus autores señalan: "ciertas ciudades son de otra parte con referencia explícita a ciudades que nosotros conocemos bien, cómo son el caso de Brüsel y Parhy".
Cito al comienzo del artículo al mariscal Radisic, personaje que representa a un político de las ciudades oscuras que llega a hacerse cargo del centro cartográfico, imponiendo un nuevo ritmo y visión. El mariscal pide acelerar los trabajos de tratamiento de datos y, de paso, limitar el trabajo de análisis: "¡Adiós a los mapas de precipitaciones, de caza y de cultivos!, ¡adiós a los mapas de rumores y de creencias!, ¡paso a los datos materiales, a los elementos más visibles!".