From 54a7a6466617ccfee5d2491e52246fd7369cd6fc Mon Sep 17 00:00:00 2001 From: sdbs Terra <info@sdbs.cz> Date: Sun, 24 Jul 2022 22:27:03 +0200 Subject: [PATCH] Automatic update, changed: las.future.md, las.missing.md --- pages/concepts.city.md | 0 pages/fulldocs.GeorgesPereconPuzzles.md | 40 +++++++++++++++++++ .../fulldocs.GeorgesPereconPuzzles.quotes.md | 1 + pages/fulldocs.youtube.alankay.tednelson.md | 4 ++ pages/las.future.md | 23 ++++++----- pages/las.missing.md | 5 ++- 6 files changed, 60 insertions(+), 13 deletions(-) create mode 100644 pages/concepts.city.md create mode 100644 pages/fulldocs.GeorgesPereconPuzzles.md create mode 100644 pages/fulldocs.GeorgesPereconPuzzles.quotes.md create mode 100644 pages/fulldocs.youtube.alankay.tednelson.md diff --git a/pages/concepts.city.md b/pages/concepts.city.md new file mode 100644 index 0000000..e69de29 diff --git a/pages/fulldocs.GeorgesPereconPuzzles.md b/pages/fulldocs.GeorgesPereconPuzzles.md new file mode 100644 index 0000000..34358fb --- /dev/null +++ b/pages/fulldocs.GeorgesPereconPuzzles.md @@ -0,0 +1,40 @@ +--- +created: 2022-07-24T21:56:24 (UTC +02:00) +tags: +source: https://www.thenation.com/article/archive/georges-perec-puzzles/ +author: By Joshua Kosman and Henri Picciotto + +September 14, 2012 +--- +[[people.GeorgesPerec]][[fulldocs.GeorgesPereconPuzzles.quotes]] + +# Georges Perec on Puzzles | The Nation + +> ## Excerpt +> Constraints, literary and ludic + +--- +## Georges Perec on Puzzles + +## Georges Perec on Puzzles + +## + +Constraints, literary and ludic + +September 14, 2012 + +\[First, three links: +• The [current puzzle +](http://www.thenation.com/article/puzzle-no-3252)• Our puzzle-solving [guidelines +](http://www.thenation.com/article/solving-nations-cryptic-crosswords)• A Nation puzzle solver’s [blog](http://thenationcryptic.blogspot.com/) where you can ask for and offer hints.\] + +Writing cryptic clues is a form of constrained writing. To begin with, for each entry, one has to include both definition and wordplay—but not every sort of wordplay works for every entry! Most words, for example, do not yield anything intelligible if read backwards, many do not make for suitable anagrams, and so on. Then, once some form of wordplay has been found, one still needs to come up with a way to combine it with the definition in a way that has a plausible surface reading. These and other constraints are what make clue writing an interesting puzzle for the constructor. + +Some of the most sustained exploration of the use of constraints in literature has come from the writers’ group Oulipo (the name is a bigram acronym for _Ouvroir de littérature potentielle,_ or “workshop of potential literature”). The group counts among its members the Italian novelist Italo Calvino and the American writer Harry Mathews, but most participants have been French. One prominent Oulipian was the French novelist Georges Perec (1936–82), who in addition to his literary work was a prolific constructor of crossword puzzles (about which we will have more to say in a future post). Perec wrote a lengthy novel (_La Disparition_, translated into English by Gilbert Adair as _A Void_) that never used the letter E—then followed up with a novella (_Les Revenentes_, translated by Ian Monk as _The Exeter Text: Jewels, Secrets, Sex_), in which the _only_ vowel used was E. He also constructed a palindrome of 1247 words (5,566 letters) which, unsurprisingly, has not been translated. + +Perec’s masterwork, _Life A User’s Manual_, is built upon a massively intricate formal framework using multiple constraining schemes, and tells many interlocking stories. The backbone of the main narrative involves jigsaw puzzles. Perec writes: “The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and, instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled—this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery—serve by design as points of departure for trails that lead to false information.… From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.” + +This is of course true of puzzles of all types. When you solve our crossword, we are there with you, engaged in a sort of dialogue. When writing clues, we imagine how you might respond to a particular word or phrase, and lay traps accordingly. When you see through our schemes, you get beneath the surface of the clue, and unpack the way our minds work. Paradoxically, the friendly struggle we are engaged in is a collaboration! + +Please share your thoughts on literary and cruciverbal constraints below, along with comments, questions, kudos or complaints about the current [puzzle](http://www.thenation.com/article/puzzle-no-3252) or any previous puzzle. diff --git a/pages/fulldocs.GeorgesPereconPuzzles.quotes.md b/pages/fulldocs.GeorgesPereconPuzzles.quotes.md new file mode 100644 index 0000000..1934ae9 --- /dev/null +++ b/pages/fulldocs.GeorgesPereconPuzzles.quotes.md @@ -0,0 +1 @@ +>The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and, instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled—this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery—serve by design as points of departure for trails that lead to false information.… From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.” \ No newline at end of file diff --git a/pages/fulldocs.youtube.alankay.tednelson.md b/pages/fulldocs.youtube.alankay.tednelson.md new file mode 100644 index 0000000..67f7bbc --- /dev/null +++ b/pages/fulldocs.youtube.alankay.tednelson.md @@ -0,0 +1,4 @@ + +hi Ted congratulations on your fest day I'm so sorry I won't be able to be with you but I found out that I had to stay in Boston this entire week I was trying to get out of something on Thursday so I could fly back here Wednesday night but I can't do it so we made this video to celebrate your day and Bonnie and I thought that the most important part of this would be to thank you so much for being responsible for us meeting up falling in love and getting married and Bonnie made a little video explaining this and here she is hi I'm Bonnie McMurray and this is how Ted Nelson spawned the movie Tron and a marriage that's lasted more than 30 years the year was 1979 I just left Universal Studios to write a movie about a videogame warrior inside of a computer there were no personal computers at that time only these in LA there were many video arcades but only one computer stores for home-brewed types only I went there and found this book Nelson I read it cover to cover well covered a middle and then upside down and other cover to middle and there was an article about Alan Kay so I went up to Xerox PARC and met the guy a half hour interview stretched in two hours and Alan Kay became the technical consultant on the movie Tron we spent many happy hours in conversation along Venice and Santa Monica beaches and also do cars and I wrote a script filled with cool science there was a bit who wanted to be a program and there was a video game warrior along to be a human the script was uploaded to Park on this and then I went up there and edited the script on the alto computer making sure on the first movie script ever to be edited for the word processing program it's sold to Disney and after eight new writers and considerable meddling it became the movie Tron groundbreaking yes but Alan I think the marriage turned up into the movie we thank you Ted Nelson thanks bond as thornton wilder's old fortune teller says it is easy to tell the future but asks who can tell the past it's not just a memory problem but one of too much complicated detail without enough perspectives it would be great if we could go back there and take a look at the world Bonnie talks about and to some extent we can some years ago Xerox decided to clean their warehouse and throw out most of the park data discs here's one of the few that got saved about 100 out of thousands were rescued and a few thousand files were recovered and just one of all of those files happen to contain one of our systems from the 70s small talk is in the form of a software internet of software computers that is completely self-contained there's no separate operating system applications etc only software computers communicating with each other and each simulating some aspect of the personal computer system some objects simulate characters on the screen some simulate pictures some windows some places where the users can do things the software computers are in terms of virtual hardware that is independent of the physical computers they run on to bring this back to life we emulated the virtual hardware in JavaScript actually it is faster than the actual park computers of 40 years ago and with this we have a time machine that allows us to go back back back into the past and run the same software that both bonnie and steve jobs' saw in fact I've been using the system to give this talk here we see something that is vaguely familiar overlapping windows iconic representations and so forth and this system ran on the three main machines at Xerox PARC the alto the first modern style of personal computer the note-taker the first portable computer and the more powerful Dorado computer windows here our views of tools and the kinds of resources that media authors use to create the writings of the future they're not apps we can bring any and all objects in small talk system to any of these projects and we see here a view of the system itself and animation a halftone painting I did 40 years ago I can scribble it up a little bit for you here's some text the system also had a gesture recognizer we can use this a little bit later for something I think you'll like but here I can use it as a way to reorganize this view of text now let's go to the place I use to organize this talk here each of the small windows are links to places where people can do projects that stretch over time you can think of this system is having unlimited desktops each persists and they are media themselves anything can be done in each of them and they can be linked together in any way they are not hierarchical I'm using some of these for this presentation and we can see where we've been and now I'm going to enter the next one which is a typical media screen for trying to describe something in this case Park research this work was just part of the elephant of personal computing which is as in the fable of the blind philosophers was being interpreted in different ways by different researchers the ARPA eye PTO information processing techniques office community have no central religion in funded people not projects so there are lots of different views Park was a microcosm of this community starting in the 70s and also very very here are just four of a number of emphases I say it this way because individual researchers were often part of more than one research area today we are looking at work done by the learning research group of which I was a part another major group was part of the computer systems lab which did much of the hardware heavy lifting and day-to-day tools one group that is less well known was the Pollos group which was made from some of the Anchor Bar Dean's that came over to park in the early 70s and they did a dazzling subset of NLS among other things the basic idea of ARPA was to avoid the disputes over different points of view that were part of the blind philosophers fable and try to do what scientists have done with figuring out a universe that we can only approach piecemeal one of the triumphs of a few hundred years ago was to be able to make globes of the earth as if it would look if we were out in space two hundred years later the views in the 1980s were quite identical to the globes of 1780 there were hardly any surprises another myth about park was its extreme originality in fact it is almost more accurate to claim that we were less original in the seventies than we had been in the 60s when many of the ideas were explored for the first time there was an enormous wealth of ways to think about personal computing and networks including sketchpad in the early 60s the very image of personal computing Engelbart of course Nelson and Van Damme that's you and Andy Ted the grail gesture recognition system on a tablet that was invented the same year as the mouse 1964 and this is where are the conventions of making arrows windows moving and resizing them came from Seymour Papert in the logo turtle Simula and some of our own stuff as well such as the ARPANET the Flex machine with its own first object-oriented operating system the idea of the dynamic and much much more and there was the Whole Earth Catalog and its folks nearby Menlo Park who are thinking big thoughts about universal access to tools not just physical but especially mental this was the first book in the park library and it had a big influence on part of how we thought things should be we love the idea of lots of different tools being available with explanations and comments and could see that would be just wonderful if such media could be brought to life as one found and made it this led to ideas about the next level of how to explain and explore by actually making things from computer stuff in the kind of general literacy we have for reading and writing but now including the reading and writing of dynamic models this kind of literacy is best learned by children and so we started to work with them here's the computer version of an article that 13 year-old Marion Goldeen wrote in creative computing magazine in 1975 about what she'd done the previous year in our group the computer version goes beyond reading to allow the reader to try out the very things that Marion is talking about we call this form an active essay right in the essay is a simulation of an alto screen so one can see what things look like when she did her projects and doing the very things that she did she started off by making a box object called Jo that can be sent messages to get it to behave programming and small talk is a bit more like training intelligent agents then like the more standard metaphor of programming as being like a cook making something from inert ingredients and now here's a wrinkle on a demo we used to do which combine animation and painting tools the animation tool is animating the bouncing ball and we can see that it's a bit weak we would expect that the ball would deform when it hits the ground we should draw a better cell for this frame now the animation effect depends on what the brain does when it sees two different images one right after the other animators like to say the animation takes place in between the frames this means that we'd really like to do the redrawing of the bottom frame while the animation is running but these are different tools if they were apps in a conversion commercial version of personal computing we most likely expect that they don't talk to each other and it would be difficult to get them to talk to each other this is a pet peeve of Ted's but here they are just objects and any object can talk to any object first let's take a look at the menu for the animation window we can stop it ticking we can single-step to the frame we care about now we want to share this frame with a painting tool if this was prepared ahead of time we would already be done but that would lose the point of this demo instead to paraphrase the row we need to find out what Texas might have to say to Massachusetts that is how do each of the tools characterize their parts and behaviors then we can do what ted loves is to draw a line between the two windows some of the actions could already be predefined but here we want to define one so we do this gesture to create a dynamic link between the two windows and what we want to say here is that the painters picture wants to be linked to the bouncing Windows current frame so we'll just write that in there and do it now we can start the animation again and start painting the deformed ball you and it starts to look pretty good of course there's a lot more to show but the plenty enough for today we had a terrific time bringing back this old system to life over the last few months as mentioned here all of the demos and forms were derived from old examples shown and published in the 70s and made without changing smolitics graphics system the beautiful dithered pictures use the floyd Steinberg technique which is partially worked out by them at Stanford and Park at the same time our system was built but we hardly use pictures like these or many bitmap paintings because there simply wasn't enough storage to hold them so it's nice to take advantage of the larger storage capacities today an iPhone for examples many tens of thousands of times larger and faster than the park machines the ancient proverb is in the country of the blind the one-eyed man is king Robert Heinlein's version is in the country of the blind the one-eyed man is in for a hell of a rough time my version combines these into a pretty good model for understanding much of human history in the country of blind the one-eyed people run things and the two eyed people are in for the hell of a rough time but we owe much of civilization to the insights and suffering of the tiny number of two eyed people Ted Nelson is one of those rare to eye people and we owe much to him and this is being celebrated today my view of how this works is that the two eyed people come up with a glorious symphony of how life will be so much deeper and richer if we just did X and the regular world acts as a low-pass filter on the ideas in the end we are lucky to get a dial tone the blind won't see it and the one eyed people only catch a glimpse but they think their glimpse is the whole thing and in our day and age if they think money can be made from the glimpse something will happen they want to sell to the max mass market of the blind so they will water the glimpse down much farther it could be educators and help the blind learned how to see this is what science has done for the entire human race but learning to see is a chore and so most are not interested especially marketing people this is too bad especially when we consider the efforts the two eyed people have to go through to even have a glimpse happen one of the keys is for the two eyed people to turn into evangelist both Ted and Our Mutual hero Doug Engelbart were tireless over their lifetimes in pointing out that in this dial-tone world the Emperor not only has no clothes but his cellphone can't transmit real music is this to mix the metaphor another key is to make a working sister this is our person especially parks main mission make something that works not just for a demo but for a group of people some of what I showed is what Steve Jobs saw and the Macintosh was the result of his glimpse and interpretations by him and others at Apple of that glimpse it wasn't a dial tone but it missed a number of really important ideas just as many of Ted's and Doug's ideas have been missed so with all this why bodger bother having visions standard schooling is already trying to convert to AI children into standard children that is blind children why not just put more effort into this and save all the bother to me the visionaries are the most important people we have because it is only by comparing their ideas with our normals that we can gauge how we are doing otherwise as it is for most people normal becomes their reality and they only measure from it toss Ted back into this mix and you've upset the applecart and that's what we need this allows us to see that normal is only one of many possible constructions and some of them could have been a much better and as the normals in the future could be much better and very different from what is considered reality today let's be very thankful that we live in a time in a place where two eye people are not burnt at the stake or worse they were really supported in in the 60s and you're tolerated at least today and let us also be thankful that we have a two eyed person like tell Ted Nelson who has been tirelessly energetic about not just having ideas but going out and telling people about them not letting them die not letting them get absorbed into the low-pass filter so thanks to it so much personal thanks from body and me for being responsible for our marriage and beautiful life together Thanks bye bye + + diff --git a/pages/las.future.md b/pages/las.future.md index dfc18f2..648fa7e 100644 --- a/pages/las.future.md +++ b/pages/las.future.md @@ -33,17 +33,19 @@ _**“Everything is related to everything else, but near things are more related ## Topicalia + [[las.missing]] -- Line and Surface X Line of Flight [[1000p]] - WSB - - Electronic revolution + - Electronic revolution - https://pile.sdbs.cz/item/61 + - #alphabet + - //follow glosolalia - perec - puzzles - - https://www.thenation.com/article/archive/georges-perec-puzzles/ -- serpent theme + - [[fulldocs.GeorgesPereconPuzzles]] + - [[fulldocs.GeorgesPereconPuzzles.quotes]] +- serpent theme --> [[las.quotes.serpent]] - Wilson - Warburg -- Cities theme [[las.quotes.cities]] +- Cities theme --> [[las.quotes.cities]] - temporality theme - //as proposed #fill - txt gifs @@ -54,6 +56,7 @@ _**“Everything is related to everything else, but near things are more related - existenalism X postlanguage - visionaries (aka [[concepts.trailblazers]]) - [alan kay - tribute to ted nelson](https://www.youtube.com/watch?v=AnrlSqtpOkw) - konec + - autotranscript [[fulldocs.youtube.alankay.tednelson]] - space bar signs - [[fulldocs.twitter.codex.relations]] - [[incubation.hermes]] @@ -72,16 +75,14 @@ _**“Everything is related to everything else, but near things are more related --------------------------------- -**Information is like a bank. Some of us are rich, some of us are poor with information. All of us can be rich. Our job - your job is to rob the bank, to kill the guard. We go out there to destroy everybody, who keeps and hides the whole information. Genesis P. Orridge ** +>Information is like a bank. Some of us are rich, some of us are poor with information. All of us can be rich. Our job - your job is to rob the bank, to kill the guard. We go out there to destroy everybody, who keeps and hides the whole information. + - Genesis P. Orridge -**Draw the line, says the accountant: but one can in fact draw it anywhere. Gilles Deleuze** +> Draw the line, says the accountant: but one can in fact draw it anywhere. + - Gilles Deleuze - -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. -[[Quotes.transmitting.architecture]][[fulldocs.Transmitting Architecture-The Transphysical City]]` ` - ----------------------------------- - https://wiki.killuglyradio.com/wiki/Project/Object_concept [[people.FrankZappa]] \ No newline at end of file diff --git a/pages/las.missing.md b/pages/las.missing.md index 6a179f0..1d68ad1 100644 --- a/pages/las.missing.md +++ b/pages/las.missing.md @@ -14,6 +14,7 @@ ------------------------------------- +#hermes #map #fix >“Where are you?” “What place are you talking about?” I don’t know, since Hermes is continually moving on. Rather, ask him, “What roadmap are you in the process of drawing up, what networks are you weaving together?” No single word, neither substantive nor verb, no domain or specialty alone characterizes, at least for the moment, the nature of my work. I only describe relationships. For the moment, let’s be content with saying it’s “a general theory of relations.” Or “a philosophy of prepositions."[\[31\]](https://contempaesthetics.org/newvolume/pages/article.php?articleID=812#FN31) @@ -22,7 +23,7 @@ >Let us, then, recapitulate our argument, in order to try to suggest what form the new civilization might take. We have two alternatives before us. First, there is the possibility that imaginal thinking will not succeed in incorporating conceptual thinking. This could lead to a generalized depolitization, deactivation, and alienation of humankind, to the victory of the consumer society, and to the totalitarianism of the mass media. Such a development would look very much like the present mass culture, but in more exaggerated or gross form. The culture of the elite would disappear for good, thus bringing history to an end in any meaningful sense of that term. The second possibility is that imaginal thinking will succeed in incorporating conceptual thinking. This would lead to new types of communication in which man consciously assumes the structural position. Science would then be no longer merely discursive and conceptual, but would have recourse to imaginal models. Art would no longer work at things (“oeuvres”), but would propose models. Politics would no longer fight for the realizations of values, but would elaborate manipulable hierarchies of models of behavior. All this would mean, in short, that a new sense of reality ->> line and surface + - Vilem Flusser - line and surface #fix @@ -33,5 +34,5 @@ concept. (First there was the stone, then the image of the stone, then the expla Imaginal thought will be a translation from concept into image, and conceptual thought a translation from image to concept. In such a feedback situation, an adequate model can finally be elaborated. **First there will be an image of something, then there will be an explanation of that image, and then there will be an image of that explanation. This will result in a model of something (this something having been, originally, a concept). And this model may fit a stone (or some other fact, or nothing).** Thus a fact, or the absence of a fact, will have been disclosed. There would once more exist a criterion of distinction between fact and fiction (fit and unfit models), and a sense of reality would have been recovered. What has just been said is not an epistemological or ontological ->>las + - las