Automatic update, changed: las.quotes.cities.md

pages/las.quotes.cities.md

@@ -163,6 +163,22 @@ https://contempaesthetics.org/2020/07/16/urban-kinaesthetics/
 > By contrast, if a robot were to navigate a city, internally representing all possible actions would be impossible, since their number is indefinite:
 >
 > One can still single out in this “driving space” discrete items, such as wheels and windows, red lights, and other cars. But unlike the world of chessplaying, movement among objects is not a space that can be said to end neatly at some point. Should the robot pay attention to pedestrians or not? Should it take weather conditions into account? Or the country in which the city is located and its unique driving customs? Such a list of questions could go on forever. The driving world does not end at some point; it has the structure of ever-receding levels of detail that blend into a nonspecific background.[[5]](https://contempaesthetics.org/2020/07/16/urban-kinaesthetics/#_edn5)
+
+### Transmitting Architecture-The Transphysical City]]
+- [[fulldocs.Transmitting Architecture-The Transphysical City]]
+
+- also [[Quotes.transmitting.architecture]]
+
+#cities #cyber //follow flusser
+>**In this effort** to extend our range and presence to nonlocal realities, architecture has been a bystander, at most housing the equipment that enable us to extend our presence. The technologies that would allow the distribution or transmission of space and place have been unimaginable, until now. Though we learn about much of the world from the media, especially cinema and television, what they provide is only a passive image of place, lacking the inherent freedom of action that characterizes reality, and imposing a single narrative thread upon what is normally an open field of spatial opportunity. However, now that the cinematic image has become habitable and interactive, that boundary has been crossed irrevocably. Not only have we created the conditions for virtual community within a nonlocal electronic public realm, but we are now able to exercise the most radical gesture: distributing space and place, transmitting architecture.
+
+#architecture #cyber //follow flusser
+> **Once we cast** architecture into cyberspace, these concerns take on both theoretical and practical urgency. The architect must now take into active interest not only the motion of the user through the environment, but also account for the fact that the environment itself, unencumbered by gravity and other common constraints, may itself change position, attitude, or attribute. This new choreographic consideration is already a profound extension of responsibilities and opportunities, but it still corresponds only to "movement-image". Far more interesting and difficult is the next step, in which the environment is understood not only to move, but also to breathe and transform, to be cast into the wind not like a stone but like a bird. What this requires is the design of mechanisms and algorithms of animation and interactivity for every act of architecture. Mathematically, this means that time must now be added to the long list of parameters of which architecture is a function.
+
+#perception #dimension // follow [[incubation.concepts.post-digital]]
+> **We cannot know** the real in its entirety. As much shields as bridges, our senses isolate us from the outside world, even as the cognitive mechanisms that translate raw input into meaningful pattern isolate us from within. In either case, what we do know is known through sampling: continuous reality, if indeed it is continuous, is segmented and reconstituted to fit our understanding.
+>  
+
 ### <>>?::{{>"?"}}
 
 - [Bertolt Brecht 1935 Questions From a Worker Who Reads](https://www.marxists.org/archive/brecht/works/1935/questions.htm)
@@ -177,25 +193,13 @@ https://contempaesthetics.org/2020/07/16/urban-kinaesthetics/
 	- 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/
 
-### 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#cite_note-6)The Mundaneum was originally housed at the [Palais du Cinquantenaire](https://en.wikipedia.org/wiki/Cinquantenaire_Museum "Cinquantenaire Museum") in [Brussels](https://en.wikipedia.org/wiki/Brussels "Brussels") (Belgium). This was originally renamed Palais Mondial, before the name Mundaneum was adopted. Otlet commissioned architect [Le Corbusier](https://en.wikipedia.org/wiki/Le_Corbusier "Le Corbusier") to design a Mundaneum project to be built in [Geneva, Switzerland](https://en.wikipedia.org/wiki/Geneva,_Switzerland "Geneva, Switzerland") in 1929.[[5]](https://en.wikipedia.org/wiki/Mundaneum#cite_note-:0-5) Although never built, the project triggered the [Mundaneum Affair](https://en.wikipedia.org/w/index.php?title=Mundaneum_Affair&action=edit&redlink=1 "Mundaneum Affair (page does not exist)"), a theoretical argument between Corbusier and Czech critic and architect [Karel Teige](https://en.wikipedia.org/wiki/Karel_Teige "Karel Teige").
->  - https://en.wikipedia.org/wiki/Mundaneum
-
-- http://www.mundaneum.org/en
-
-##### follow
-- [[concepts.udc]] # Universal Decimal Classification
-- [[concepts.knowledge managment.methodologies]]
-- https://artsandculture.google.com/story/0AXRA53tkh4A8A
-
 ### Are we human 
 - tom wilkinson - article
 - Colomina and Wigley - book
 - [[incubation.interface]]
-- to follow
+- to research
 	- Frederick Kietler - Magic architecture
 	-  An Unfinished Encyclopedia of Scale - https://www.mos.nyc/news/unfinished-encyclopedia-scale-figures-without-architecture
 
@@ -225,26 +229,8 @@ believe in doctors. - Le Corbusier
 
 
 
-### [[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
 
-### Transmitting Architecture-The Transphysical City]]
-- [[fulldocs.Transmitting Architecture-The Transphysical City]]
-
-- also [[Quotes.transmitting.architecture]]
-
-#cities #cyber //follow flusser
->**In this effort** to extend our range and presence to nonlocal realities, architecture has been a bystander, at most housing the equipment that enable us to extend our presence. The technologies that would allow the distribution or transmission of space and place have been unimaginable, until now. Though we learn about much of the world from the media, especially cinema and television, what they provide is only a passive image of place, lacking the inherent freedom of action that characterizes reality, and imposing a single narrative thread upon what is normally an open field of spatial opportunity. However, now that the cinematic image has become habitable and interactive, that boundary has been crossed irrevocably. Not only have we created the conditions for virtual community within a nonlocal electronic public realm, but we are now able to exercise the most radical gesture: distributing space and place, transmitting architecture.
-
-#architecture #cyber //follow flusser
-> **Once we cast** architecture into cyberspace, these concerns take on both theoretical and practical urgency. The architect must now take into active interest not only the motion of the user through the environment, but also account for the fact that the environment itself, unencumbered by gravity and other common constraints, may itself change position, attitude, or attribute. This new choreographic consideration is already a profound extension of responsibilities and opportunities, but it still corresponds only to "movement-image". Far more interesting and difficult is the next step, in which the environment is understood not only to move, but also to breathe and transform, to be cast into the wind not like a stone but like a bird. What this requires is the design of mechanisms and algorithms of animation and interactivity for every act of architecture. Mathematically, this means that time must now be added to the long list of parameters of which architecture is a function.
-
-#perception #dimension // follow [[incubation.concepts.post-digital]]
-> **We cannot know** the real in its entirety. As much shields as bridges, our senses isolate us from the outside world, even as the cognitive mechanisms that translate raw input into meaningful pattern isolate us from within. In either case, what we do know is known through sampling: continuous reality, if indeed it is continuous, is segmented and reconstituted to fit our understanding.
->  
 
 ### [[people.McLuhan]] - City as classroom
 >teledyn - In "City as a Classroom", they describe an experiment comparing comprehension between a front-projected vs back-projected screens and found very similar results, that back projection triggers a fireplace-stare lull. McLuhan often cited this result in comparing television to cinema. 
@@ -263,6 +249,26 @@ Here, however, constructional relations are not illumined by a feeling for the o
 - 
 > A child of three today has been around the world thousands of times with advertisements. He has traveled to every corner of the earth with advertisements and other shows. So that he knows more than Methuselah. Methuselah at the age of nine hundred had known very little about this planet. He had never been around the world. But any infant today of three has been around the world many times in every corner of the world and this incredible situation is not recognized in the schools and not taken advantage of. The phrase ‘grey at three’ comes out of James Joyce’s Finnegans Wake but Finnegans Wake is quite aware that anybody who learns to speak a proper tongue or dialect has acquired vast information and vast skill. A child who at the age of one speaks English or his native tongue has learned more than he will ever learn again in all his life put together.
 
+## Stub
+### 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#cite_note-6)The Mundaneum was originally housed at the [Palais du Cinquantenaire](https://en.wikipedia.org/wiki/Cinquantenaire_Museum "Cinquantenaire Museum") in [Brussels](https://en.wikipedia.org/wiki/Brussels "Brussels") (Belgium). This was originally renamed Palais Mondial, before the name Mundaneum was adopted. Otlet commissioned architect [Le Corbusier](https://en.wikipedia.org/wiki/Le_Corbusier "Le Corbusier") to design a Mundaneum project to be built in [Geneva, Switzerland](https://en.wikipedia.org/wiki/Geneva,_Switzerland "Geneva, Switzerland") in 1929.[[5]](https://en.wikipedia.org/wiki/Mundaneum#cite_note-:0-5) Although never built, the project triggered the [Mundaneum Affair](https://en.wikipedia.org/w/index.php?title=Mundaneum_Affair&action=edit&redlink=1 "Mundaneum Affair (page does not exist)"), a theoretical argument between Corbusier and Czech critic and architect [Karel Teige](https://en.wikipedia.org/wiki/Karel_Teige "Karel Teige").
+>  - https://en.wikipedia.org/wiki/Mundaneum
+
+- http://www.mundaneum.org/en
+
+##### follow
+- [[concepts.udc]] # Universal Decimal Classification
+- [[concepts.knowledge managment.methodologies]]
+- https://artsandculture.google.com/story/0AXRA53tkh4A8A
+
+### [[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
 
 
 ### Unsorted