Automatic update, changed: Pasted image 20211211235108.png, concepts.Algorithmic Editing.md, flusser.odsubjektukprojektu.md, las.quotes.cities.md, las.quotes.md, patocka.polis.png.annotations.md, people.ClaudeBragdon.md

pages/concepts.Algorithmic Editing.md

@@ -4,12 +4,24 @@
 ## Articles
 - [A Brief History of Algorithmic Editing](https://medium.com/janbot/a-brief-history-of-algorithmic-editing-732c3e19884b)
 - [Why should machines make art?](https://medium.com/janbot/should-machines-b59af9c5c7ab)
+- https://link.medium.com/TrPYQzYVPbb
+- https://subconscious.substack.com/p/hypertext-montage
 
 ### Short
 - [How Artificial Intelligence is Transforming Video Editing](https://www.intelligenthq.com/artificial-intelligence-transforming-video-editing/)
 - [A new algorithm makes editing video as easy as editing text](https://engineering.stanford.edu/magazine/article/new-algorithm-makes-editing-video-easy-editing-text)
 - [Immersive mediums replace thought](https://notes.azlen.me/s3husuaw/)
 
+## Inspiring projects
+- <https://www.jan.bot/>
+	- <https://medium.com/janbot/jan-bots-step-by-step-822b831d0402>
+	- <https://medium.com/janbot>
+- [narra project AKA CAS in the past](https://narra.eu/)
+- popcorn (check [[tools.EDL]])
+- office vodoo
+
+
+
 
 ## #techmech 
 - <https://analyticsindiamag.com/top-5-ai-powered-video-editing-tools/>
@@ -35,18 +47,6 @@ https://www.magisto.com/
 - https://forum.shotcut.org/t/suggested-codecs-file-formats-for-editing-speed-reduced-lagging/11756
 
 
-## Inspiring projects
-- <https://www.jan.bot/>
-	- <https://medium.com/janbot/jan-bots-step-by-step-822b831d0402>
-	- <https://medium.com/janbot>
-- [narra project AKA CAS in the past](https://narra.eu/)
-- popcorn (check [[tools.EDL]])
-
----
-https://link.medium.com/TrPYQzYVPbb
-
-----
-https://subconscious.substack.com/p/hypertext-montage
 
 # Adjacent
 - [[concepts.hypertext]]

pages/incubation.flusser.odsubjektukprojektu.md

@@ -1,7 +1,9 @@
 od subjektu k projektu
 
+
+
 [11-Dec-21 9:42 PM]
-Co na těch Idech uavuje, neni celkem to, ze se jim stýská ouomově, jako to, že se jim chce dáldiepët v domech, které métřesení zničilo. Ze pláčou nad rozpukanými stěnami, rozbitými okny, a hlavně nad střechou, proraženou na tolika místech, misto aby se projektovali do dali prostřednictvím kabelü, které se jim ted otevřeně nabízeji, Ze se snaží být subjekty nicoty, místo aby e napřímili.
+Co na těch Idech unavuje, není celkem to, že se jim stýská po domově, jako to, že se jim chce dáldiepët v domech, které métřesení zničilo. Ze pláčou nad rozpukanými stěnami, rozbitými okny, a hlavně nad střechou, proraženou na tolika místech, misto aby se projektovali do dali prostřednictvím kabelü, které se jim ted otevřeně nabízeji, Ze se snaží být subjekty nicoty, místo aby e napřímili.
 
 [11-Dec-21 9:42 PM]
 Vinová údol, to jsou domy budoucnosti. Mřiže jsou nástro k filtrovánií informací a za miížemi vznikají domy. Budouci st telé měst budou vysavači a budoucí stavitelé domü budou stav filtry do vysavačů - to je návrh definice,architektury a urbanismu'

pages/las.quotes.cities.md

@@ -1,41 +1,43 @@
 # [[las.quotes]].city theme
 
-## ??
+## Sorted
--   cities as metacities https://theccd.org/article/72/cities-as-meta-cities/
+### Myrto Kostaropoulou - Cities as Meta-Cities
-	- Zoli professes: “Each time, a city is inscribed into a long cultural sequence, of which it is the utmost incident”3.
+-  https://theccd.org/article/72/cities-as-meta-cities/
-	-   A city is a condition which more or less efficiently meets its citizens. Also it is a context within which consciousness develops. How would a historian describe the contemporary urban period in about 50 years from now?
+  
-- life in the metacity
+> Zoli professes: “Each time, a city is inscribed into a long cultural sequence, of which it is the utmost incident”3.
-	-    Cities are reduced in choice by Disneylanding themselves. It will become too perfect, there will be no more growth, and there will be a reduction of choice. But the visitors are expecting certain disneyfication in the city.but "of every Disneyland: you can't repurpose a theme park" (88).	   
+> A city is a condition which more or less efficiently meets its citizens. Also it is a context within which consciousness develops. How would a historian describe the contemporary urban period in about 50 years from now?
+   
 	
-## William Gibson
+### [[people.WilliamGibson]]
 - ??
-- https://www.scientificamerican.com/article/life-in-a-meta-city/
+
-### interview about cities
+####  interview about cities
 - https://www.scientificamerican.com/article/gibson-interview-cities-in-fact-and-fiction/
 
 >  Necessity being one of invention's many mothers, I have a certain faith in our ability to repurpose almost anything, provided it becomes sufficiently necessary. Then again, I suspect we've abandoned cities in the past because they were too thoroughly built to do some specific something that's no longer required.
 
 >   The Internet, which I think of as a sort of meta-city, has made it possible for people who don't live in cities to master areas of expertise that previously required residence in a city, but I think it's still a faith in concentrated choice that drives migration to cities.
 
-## Polis - Patocka
+#### life in the metacity
+- https://www.scientificamerican.com/article/life-in-a-meta-city/
+> Cities are reduced in choice by Disneylanding themselves. It will become too perfect, there will be no more growth, and there will be a reduction of choice. But the visitors are expecting certain disneyfication in the city.but "of every Disneyland: you can't repurpose a theme park" (88).	
+
+### [[people.JanPatocka]]
+#### Polis
+> Proto má v základech dějinného procesu tak velký význam vznik epické a potom zvláště dramatické poezie, v níž člověk přihlíží vnitřním a pak vnějším okem k dění, jehož se účastnit znamená propadnout orgii; dějiny vznikají jako povznesení z úpadku, jako pochopení,že život dosud byl životem v úpadku a že existuje jiná možnost či možnosti, jak žít, než na jedné straně mozolení za naplněným žaludkem v bídě, nedostatku, důmyslně kroceném lidskými technikami – a na druhé straně orgiastické chvíle soukromé a veřejné, sexualita a kult. Řecká polis, epos, tragédie a filosofie jsou různé stránky téhož elánu, který znamená vzmach z úpadku. 
 ![[patocka.polis.png.annotations]]/[[patocka.polis.png.annotations]]
 
 
-## Mundaneum
-> V rámci Světové výstavy EXPO 1910 která se konala v Bruselu vytvořil Otlet s La Fontainem instalaci Mundaneum jako utopickou vizi kosmopolitního „města intelektu.“ Za podpory belgické vlády se Otletův plán začal formovat do podoby enormní kolekce kartiček a dokumentů, tehdy nejmodernější technologie pro skladování informací. S iniciativou byla spojená i vyhledávací služba – uživatelé mohli poštou zaslat dotazy a za poplatek 27 franků na tisíc kartiček obdrželi odpověď. (ibid., s. 188–189)
-
-- https://en.wikipedia.org/wiki/Mundaneum
-- http://www.mundaneum.org/en
 
 
-## [[people.JaceClayton]]
+### [[people.JaceClayton]]
 > Recorded sound vibrates between history and pleasure. Live Sound exists only in the present. It cannot linger. This is one of the reasons why sound defines public space even more than architecture. Kids jamming that week's hit, neighbors fucking bchind a thin wall, the call to prayers divine layer competing with traffic's blare, the loud low boom of something blowing up-and its opposite, hilltop garden quiet. #las  
 
 > Architecture real or imagined-prompts memory so etfficiently because our brains are hardwired to recall things-in-places and unusual or -disturbing scenes. Memory-quiz champion envision fantastic images that correspond to what they want to remember and "place" each icon in some specific nook of their mental building. These mnemonic aids are called memory palaces. Their effectiveness speaks to how when a place is destroyed or erased, all the personal histories linked to it slip further into the past. #las 
 
 
-## [[people.VilemFlusser]]
+### [[people.VilemFlusser]]
-### City as wave through
+#### City as wave through
 > When it comes to cities, we should learn to think topographically rather
 than geographically and see the city not as a geographical place, but rather
 as a flection in a field. This is not a comfortable undertaking, as it involves one of those notorious paradigm shifts. When we were forced to see geography as the surface of a globe rather than as the description of a flat area, we ran into problems: Do the occupants of the southern hemisphere stand on their heads?
@@ -61,18 +63,19 @@ tion of projects among human beings. That sounds utopic, which it cer-
 tainly is, because the new city is not geographically locatable; on the
 contrary, it is everywhere where humans open up to one another. But pre-
 cisely because it sounds utopic it is realistic.
-### [[flusser.odsubjektukprojektu]]
+
+#### [[incubation.flusser.odsubjektukprojektu]]
 
 ### [[1000p]] subplot
-![[Pasted image 20211211235108.png]]
+![[1000p.20211211235108.png]]
 	
 
 
-##  [[concepts.situationism]]
+###  [[concepts.situationism]]
 - https://en.wikipedia.org/wiki/Psychogeography
 
 
-### theory of derive
+#### theory of derive
 > In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.
 
 >Today the different unities of atmosphere and of dwellings are not precisely marked off, but are surrounded by more or less extended and indistinct bordering regions. The most general change that dérive experience leads to proposing is the constant diminution of these border regions, up to the point of their complete suppression. 
@@ -81,7 +84,7 @@ cisely because it sounds utopic it is realistic.
 >
 > “The apartments of the helicoidal building will be shaped like slices of cake. One will be able to enlarge or reduce them by shifting movable partitions. The half-floor gradations avoid limiting the number of rooms, since the tenant can request the use of the adjacent section on either upper or lower levels. With this setup three four-room apartments can be transformed into one twelve-room apartment in less than six hours.”
 
-### Introduction to a Critique of Urban Geography
+#### Introduction to a Critique of Urban Geography
 >  The word _psychogeography,_ suggested by an illiterate Kabyle as a general term for the phenomena a few of us were investigating around the summer of 1953, is not too inappropriate. It does not contradict the materialist perspective of the conditioning of life and thought by objective nature. Geography, for example, deals with the determinant action of general natural forces, such as soil composition or climatic conditions, on the economic structures of a society, and thus on the corresponding conception that such a society can have of the world. _Psychogeography_ could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals. The adjective _psychogeographical,_ retaining a rather pleasing vagueness, can thus be applied to the findings arrived at by this type of investigation, to their influence on human feelings, and even more generally to any situation or conduct that seems to reflect the same spirit of discovery.
 
 >   But from any standpoint other than that of police control, Haussmann's Paris is a city built by an idiot, full of sound and fury, signifying nothing. Today urbanism's main problem is ensuring the smooth circulation of a rapidly increasing quantity of motor vehicles. We might be justified in thinking that a future urbanism will also apply itself to no less utilitarian projects that will give the greatest consideration to psychogeographical possibilities.
@@ -94,16 +97,17 @@ cisely because it sounds utopic it is realistic.
 
 > For example, in the preceding issue of this journal Marien proposed that when global resources have ceased to be squandered on the irrational enterprises that are imposed on us today, all the equestrian statues of all the cities of the world be assembled in a single desert. This would offer to the passersby--the future belongs to them--the spectacle of an artificial cavalry charge, which could even be dedicated to the memory of the greatest massacrers of history, from Tamerlane to Ridgway. Here we see reappear one of the main demands of this generation: educative value. 
 
-### Formulary for a New Urbanism
+#### Formulary for a New Urbanism
 
 >  All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a _closed_ landscape whose landmarks constantly draw us toward the past. Certain _shifting_ angles, certain _receding_ perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.
 
 >  Darkness and obscurity are banished by artificial lighting, and the seasons by air conditioning; night and summer are losing their charm and dawn is disappearing. The man of the cities thinks he has escaped from cosmic reality, but there is no corresponding expansion of his dream life. The reason is clear: dreams spring from reality and are realized in it.
 
 >   Architecture is the simplest means of _articulating_ time and space, of _modulating_ reality, of engendering dreams. It is a matter not only of plastic articulation and modulation expressing an ephemeral beauty, but of a modulation producing influences in accordance with the eternal spectrum of human desires and the progress in realizing them.
-## [[people.WalterBenjamin]]	
 
-### arcade project
+### [[people.WalterBenjamin]]	
+
+#### arcade project
 
 > The crowd was the veil from behind which the familiar city as phantasmagoria beckoned to the _flâneur_. In it, the city was now landscape, now a room. And both of these went into the construction of the department store, which made use of _flânerie_ itself in order to sell goods. The department store was the _flâneur's_ final coup. As _flâneurs_, the intelligentsia came into the market place. As they thought, to observe it – but in reality it was already to find a buyer. In this intermediary stage ... they took the form of the _[bohème](https://en.wikipedia.org/wiki/Bohemianism "Bohemianism")_. To the uncertainty of their economic position corresponded the uncertainty of their political function.
 
@@ -112,17 +116,66 @@ cisely because it sounds utopic it is realistic.
 > Fournel wrote: "The _flâneur_ must not be confused with the _badaud_; a nuance should be observed there .... The simple _flâneur_ is always in full possession of his individuality, whereas the individuality of the _badaud_ disappears. It is absorbed by the outside world ... which intoxicates him to the point where he forgets himself. Under the influence of the spectacle which presents itself to him, the _badaud_ becomes an impersonal creature; he is no longer a human being, he is part of the public, of the crowd."[\[8\]](https://en.wikipedia.org/wiki/Fl%C3%A2neur#cite_note-FOOTNOTEFournel1867270-8)[\[1\]](https://en.wikipedia.org/wiki/Fl%C3%A2neur#cite_note-FOOTNOTEShaya2004-1)
 
 ## R&D neeeded
+
+### <>>?::{{>"?"}}
 - [City Walks and Tactile Experience](https://contempaesthetics.org/newvolume/pages/article.php?articleID=607&searchstr=warburg)
 - [Bertolt Brecht 1935 Questions From a Worker Who Reads](https://www.marxists.org/archive/brecht/works/1935/questions.htm)
 - cubitt 
 	- [sound and city](https://www.academia.edu/59847851/Sound_and_the_City)
-	- ISEA96 proceedings
+	- Online Sound and virtual architecture
-		-   http://www.isea-archives.org/symposia/isea2013/presenters-2013/isea2013-abstract-george-poonkhin-khut-james-brown-theta-lab-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-3-2-2-2-2-2-2-2-3-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-821/
+		- www.mitpress.mit.edu/leonardo/journal/hplmj.html
+		- ISEA96 proceedings
+			-   http://www.isea-archives.org/symposia/isea2013/presenters-2013/isea2013-abstract-george-poonkhin-khut-james-brown-theta-lab-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-3-2-2-2-2-2-2-2-3-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-821/
 - https://www.bbc.com/future/article/20210505-how-cities-will-fossilise
 
-### [[people.ClaudeBragdon]]
 
-### flatline constructs
+### Mundaneum
+> V rámci Světové výstavy EXPO 1910 která se konala v Bruselu vytvořil Otlet s La Fontainem instalaci Mundaneum jako utopickou vizi kosmopolitního „města intelektu.“ Za podpory belgické vlády se Otletův plán začal formovat do podoby enormní kolekce kartiček a dokumentů, tehdy nejmodernější technologie pro skladování informací. S iniciativou byla spojená i vyhledávací služba – uživatelé mohli poštou zaslat dotazy a za poplatek 27 franků na tisíc kartiček obdrželi odpověď. (ibid., s. 188–189)
+
+- https://en.wikipedia.org/wiki/Mundaneum
+- http://www.mundaneum.org/en
+
+### Are we human 
+- tom wilkinson - article
+- Colomina and Wigley - book
+- to follow
+	- Frederick Kietler - Magic architecture
+	-  An Unfinished Encyclopedia of Scale
+
+> The twenty-first century is also the age of allergies, the age
+of the "environmentally hypersensitive" unable to live in
+the modern world. Never at any one time in history have
+there been so many people allergic to chemicals, buildings,
+electromagnetic fields (f Uf), fragrances. ' . ' Since the
+environment is now almost completely man-made, we have
+become allergic to ourselves, to our own hyperextended
+body in a kind of autoimmune disorder. - colomina wigley
+
+> We have become sedentary beings, that is our
+lot. The house eats away at us in our immobility,
+like consumption. We will soon need too many
+sanatoria. . . . Engineers are healthy and virile,
+active and useful, moral and joyful. Architects are
+disenchanted and idle, boastful or morose. That is
+because they will soon have nothing to do. We have
+no more moneylo pile up historical keepsakes. We
+need to cleanse ourselves... .The diagnosis is clear.
+Engineers make architecture. . . . People still believe,
+here and there, in architects, just as people blindly
+believe in doctors. - Le Corbusier
+
+### [[people.ClaudeBragdon]]
+> MAN THE SPACE-EATER
+> 
+Man has been called the thinking animal. Space-eater would be a more appropriate title, since he so dauntlessly and persistently addresses himself to overcoming the limitations of his space. To realize his success in this, compare, for example, the voyage of Columbus' caravels with that of an ocean liner; or traveling by stage coach with train de luxe. Consider the telephone, the phonograph, the cinematograph, from the standpoint of space-conquest—and wireless telegraphy which sends forth messages in every direction, over sea and land. Most impressive of all are the achievements in the domain of astronomy. One by one the sky has yielded its amazing secrets, till the mind roams free among the stars. The reason why there are to-day so many men braving death in the air is because the conquest of the third dimension is the task to which the Zeit-Geist has for the moment addressed itself, and these intrepid aviators are its chosen instruments—sacrificial pawns in the dimension-gaining game.
+>
+> All these things are only the outward and visible signs of the angel, incarnate in a world of three dimensions, striving to realize higher spatial, or heavenly, conditions. This spectacle, for example, of a millionaire hurled across a continent in a special train to be present at the bedside of a stricken dear one, may be interpreted as the endeavor of an incarnate soul to achieve, with the aid of human ingenuity applied to space annihilation, that which, discarnate, it could compass without delay or effort.
+> //
+> **junction** >> Edward O. Wilson
+
+
+### [[people.MarkFisher]]
+##### flatline constructs
 
 > 72. Dick, Do Androids Dream of Electric Sheep?, 28 Compare this passage from Abstraction and Empathy. “In the Ionic temple and the architectural development ensuing upon it the purely constructional skeleton, which is based solely the laws of matter […] was guided over into the more friendly and agreeable life of the organic, and purely mechanical functions became organic in their effect. The criterion of the organic is always the harmonious, always the balanced, the inwardly calm into whose movement and rhythm we can without difficulty flow with the vital sensation of our organisms. In absolute antithesis to the Greek idea of architecture, we have the, on the other hand, the Egyptian pyramid, which calls a halt to our empathy impulse and presents itself to us as a purely crystalline substance. A third possibility now confronts us in the Gothic cathedral, which indeed operates with abstract values, but nonetheless directs an extremely strong and forcible appeal to our capacity for empathy.
 Here, however, constructional relations are not illumined by a feeling for the organic, as is the process in Greek temple building, but purely mechanical relationships of forces are brought to view per se, and in addition these relationships of forces are intensified to the maximum in their tendency to movement and in their content by a power of empathy that extends to the abstract. It is not the life of an organism which we see before us, but that of mechanism. No organic harmony surrounds the feeling of reverence toward the world, but an ever growing and self-intensifying restless striving without deliverance sweeps the inwardly disharmonious psyche away with it in an extravagant ecstasy, into fervent excelsior.” (115

pages/las.quotes.md

@@ -206,7 +206,7 @@ We exist in a bizarre combination of Stone Age emotions, medieval beliefs, and g
 
 ##### snakes
 #offtopic
-Snakes and dream serpents provide an example of how agents ofnature can be translated into the symbols of culture. For hundreds of thousands of years, time enough for genetic changes in the brain to program the algorithms of prepared learning, poisonous snakes have been a significant source of injury and death to human beings. The re-sponse to the threat is not simply to avoid it, in the way that certain berries are recognized as poisonous through painful trial and error, but to feel the kind of apprehension and morbid fascination displayed in the presence of snakes by the nonhuman primates. The snake image also attracts many extraneous details that are purely learned, and as a result the intense emotion it evokes enriches cultures around theworld. The tendency of the serpent to appear suddenly in trances and dreams, its sinuous form, and its power and mystery are logical ingredi-ents of myth and religion.
+Snakes and dream serpents provide an example of how agents of nature can be translated into the symbols of culture. For hundreds of thousands of years, time enough for genetic changes in the brain to program the algorithms of prepared learning, poisonous snakes have been a significant source of injury and death to human beings. The re-sponse to the threat is not simply to avoid it, in the way that certain berries are recognized as poisonous through painful trial and error, but to feel the kind of apprehension and morbid fascination displayed in the presence of snakes by the nonhuman primates. The snake image also attracts many extraneous details that are purely learned, and as a result the intense emotion it evokes enriches cultures around theworld. The tendency of the serpent to appear suddenly in trances and dreams, its sinuous form, and its power and mystery are logical ingredi-ents of myth and religion.
 
 #### Chapter 7
 

pages/patocka.polis.png.annotations.md

@@ -1,13 +1,3 @@
 ![[patocka.polis.png]]
 
-ská nejasnost, útočiště našeho životního rutinérství. Proto má
+~ská nejasnost, útočiště našeho životního rutinérství.~ Proto má v základech dějinného procesu tak velký význam vznik epické a potom zvláště dramatické poezie, v níž člověk přihlíží vnitřním a pak vnějším okem k dění, jehož se účastnit znamená propadnout orgii; dějiny vznikají jako povznesení z úpadku, jako pochopení,že život dosud byl životem v úpadku a že existuje jiná možnost či možnosti, jak žít, než na jedné straně mozolení za naplněným žaludkem v bídě, nedostatku, důmyslně kroceném lidskými technikami – a na druhé straně orgiastické chvíle soukromé a veřejné, sexualita a kult. Řecká polis, epos, tragédie a filosofie jsou různé stránky téhož elánu, který znamená vzmach z úpadku.
-v základech dějinného procesu tak velký význam vznik epické
-a potom zvláště dramatické poezie, v níž člověk přihlíží vnitřním
-a pak vnějším okem k dění, jehož se účastnit znamená propadnout
-orgii; dějiny vznikají jako povznesení z úpadku, jako pochopení,
-že život dosud byl životem v úpadku a že existuje jiná možnost či
-možnosti, jak žít, než na jedné straně mozolení za naplněným ža-
-ludkem v bídě, nedostatku, důmyslně kroceném lidskými techni-
-kami – a na druhé straně orgiastické chvíle soukromé a veřejné,
-sexualita a kult. Řecká polis, epos, tragédie a filosofie jsou různé
-stránky téhož elánu, který znamená vzmach z úpadku.

pages/people.ClaudeBragdon.md

@@ -1,6 +1,10 @@
 # Claude Bragdon
+
+## 101
 - https://en.wikipedia.org/wiki/Claude_Fayette_Bragdon
 - https://theosophyart.org/2018/03/30/claude-fayette-bragdon/
+
+## Literature
 - pdfs
 	- https://surface.syr.edu/cgi/viewcontent.cgi?article=1135&context=arc
 	- https://pdxscholar.library.pdx.edu/cgi/viewcontent.cgi?article=1036&context=arch_design
@@ -13,6 +17,6 @@
 - locked
 	- https://www.tandfonline.com/doi/abs/10.1080/13602365.2013.821666
 
-
+## Screencaps
 ![[Pasted image 20211211204326.png]]
 ![[Pasted image 20211211211556.png]]