From 7b7840b1ed3f89759b49ef7a532124f2a9c63004 Mon Sep 17 00:00:00 2001 From: sdbs Terra Date: Mon, 4 Jan 2021 11:42:03 +0100 Subject: [PATCH] Automatic update, changed: incubation.archives in art history.md, incubation.interface.md --- .gitattributes | Bin 1168 -> 1229 bytes pages/concepts.archive.md | 11 +++ pages/dream.04.01.2021.md | 5 + pages/fulldocs.internet_is_worse.md | 37 ++++++++ pages/incubation.archives in art history.md | 7 +- pages/incubation.interface.md | 4 +- pages/las.quotes.md | 98 ++++++++++++++++++++ pages/las.reconcept.md | 51 ++++++++++ pages/revisting_zoom.png | 3 + 9 files changed, 214 insertions(+), 2 deletions(-) create mode 100644 pages/concepts.archive.md create mode 100644 pages/dream.04.01.2021.md create mode 100644 pages/fulldocs.internet_is_worse.md create mode 100644 pages/las.quotes.md create mode 100644 pages/las.reconcept.md create mode 100644 pages/revisting_zoom.png diff --git a/.gitattributes b/.gitattributes index c4f0874f1d6654561150110947eb59dc2a74671b..68038e0b5ae239519366dc2205c5d2eba708cc87 100644 GIT binary patch delta 29 lcmbQhd6sj-1eVGFnb`P>Qp+-nOEUA)In Greek mythology, Atlas was the name of a titan, brother of Prometheus, who confronted the Gods of Olympia, to take over their power and give it to humankind. The story goes that he was punished in the same measure of his force. While a vulture ripped Prometheus’ liver in the borders of the East, Atlas in the West (between Andalusia and Morocco) was compelled to hold the whole celestial dome on his shoulders. So more tells the story, this burden gave him in surmountable knowledge and desperate wisdom. He was the ancestor of astronomers, geographers, and some say he was the first philosopher. A mountain (Atlas), an ocean (Atlantic) and an anthropomorphic architectural support (Atlant) got their name after him. +> - FROM THE ATLAS » MNEMOSYNE« >More recent Warburg research has shown that it is plausible that Aby Warburg’s historiography was formed in conjunction with technical media. So the structure of Warburg’s “Thinking in Pictures” (“Denken in Bildern”) was modelled by means of, among other things, imaging and image transmission processes such as cinematography, and the materiality of these media extends deep into Warburg’s historiographical and epistemological designs. This presentation aims to shed some light onto the origins of Warburg’s main work, his picture atlas. Based on archive discoveries, there is a theory that Warburg’s MNEMOSYNE picture atlas is owed to a special desk which Warburg deemed to be exceptionally valuable from an epistemological point of view. This presentation aims to reconstruct this desk and its significance for Warburg. @@ -23,6 +25,9 @@ - https://markamerika.com/news/from-the-zkm-collection-writing-the-history-of-the-future - [Cornell Uni - Ten panels from the Mnemosyne Atlas](https://warburg.library.cornell.edu/) +## Arcades Project +- Walter Benjamins unfinished project + ## media archeology diff --git a/pages/incubation.interface.md b/pages/incubation.interface.md index bc8c5da..b00554b 100644 --- a/pages/incubation.interface.md +++ b/pages/incubation.interface.md @@ -10,4 +10,6 @@ [Screen As Room: An Architectural Perspective on User Interfaces](https://www.christophlabacher.com/notes/screen-as-room) -UI UX........................... \ No newline at end of file +UI UX........................... + +![image.png](blob:vector://vector/9087222b-5414-45aa-b20f-610a36a40995) \ No newline at end of file diff --git a/pages/las.quotes.md b/pages/las.quotes.md new file mode 100644 index 0000000..32957a6 --- /dev/null +++ b/pages/las.quotes.md @@ -0,0 +1,98 @@ + + + +## [[flusser]] - [[line and surface]] + +If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going somewhere, whereas, while reading pictures, we need go nowhere. The proof of this is simple: it takes many more minutes to describe what one has seen in a picture than it does to see it. + +However, the stone we have offered as an example is not really typical of our present situation. We can walk right up to a stone, but we can do nothing of the sort with most of the things that determine us at present— either the things that occur in explanations or the things that occurin images. The genetic information or the Vietnam War, or alpha particles, or Miss Bardot’s breasts are all examples. We may have no immediate experience of any of these kinds of things, but we are nonetheless determined by them. + +We must therefore ask how the various symbols of the world of fiction relate to their meanings. This shifts our problem to the structure of the media. If we take advantage of what was said in the first paragraph, we may answer the question as follows: Written lines relate their symbols to their meanings point by point (they “conceive” the facts they mean), while surfaces relate their symbols to their meanings by two-dimensional contexts (they “imagine” the facts they mean — if they truly mean facts and are not empty symbols). Thus, our situation provides us with two sorts of fiction: the conceptual and the imaginal; their relation to fact depends on the structure of the medium. + +---- +#dimension #prophets +(We need no prophets to tell us that the “one-dimensional man” is disappearing.) + + + +---- +#dimension +(We do not have a two-dimensional logic comparable in rigor and elaboration to linear Aristotelian logic.) + +----- +#dimension #reading #temporality + +This gives us the following difference between reading written lines and pictures: we must follow the written text if we want to get at its message, but in pictures we may get the message first, and then try to decompose it. And this points to the difference between the one-dimensional line and the two-dimensional surface: the one aims at getting somewhere; theother is there already, but may reveal how it got there. This difference is one of temporality, and involves the present, the past, and the future.It is obvious that both types of reading involve time—but is it the“same” time? + +--- +#temporality +On theother hand, would it not be more sensible to say that the times involved in the two processes are different, and that their measurement in minutes fails to reveal this difference? If we accept this last statement, we may say that the reading of pictures takes less time because the moment in which their messages are received is denser; it is more compacted. It also opens up more quickly. If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going + +---- +#visionaries #peoplewhohearvoices + +Visually, films are surfaces, but to the ear they are spatial. We are merged in the ocean of sound and it penetrates us; we are opposed to the world of images, and it merely surrounds us. The term audiovisual obscures this distinction. (It seems that Ortega, like many others, has ignored this difference when speaking of our circunstancia. Visionaries certainly live in a different world from those who hear voices.) + +----- + +#intro #dimension + +Written lines relate\ their symbols to their meanings point by point (they “conceive” the facts they mean), while surfaces relate their symbols to their meanings by two-dimensional contexts (they “imagine” the facts they mean—if they truly mean facts and are not empty symbols). + +----- +#intro #fiction #concept + +When we translate image into concept, we decompose the image—we analyze it. We throw, so to speak,a conceptual point-net over the image, and capture only such meaning as did not escape through the meshes of the net. Therefore, the meaning of conceptual fiction is much narrower than the meaning of imaginal fiction, although it is far more clear and distinct. Facts are represented more fully by imaginal thought, more clearly by conceptual thought. The messages of imaginal media are richer, and the messages of conceptual media are sharper. + +----- +#fiction #elite #society +For the elite, the problem is that the more objective and clearer the linear fiction becomes, the more it is impoverished, because ittends to lose contact with the facts it wants to represent (all meaning). Therefore, the messages of linear fiction can no longer be made satisfactorily adequate to the immediate experience we still have of the world. For the mass culture, the problem is that the more technically perfect the images become, the richer they become and the more completely they substitute themselves for the facts they may have originally represented. Therefore, the facts are no longer needed; the images can stand for themselves, and thus lose all their original meaning. They no longer need tobe made adequate to the immediate experience of the world; that experience is thus abandoned. In other words, the world of linear fiction, the world of the elite, is more and more disclosing its merely conceptual, fictitious character — and the world of surface fiction, the world of themasses, is masking its fictitious + +---- + +The sciences, and other articulations of linear thought such as poetry, literature, and music, are having increasing recourse to imaginal surface thinking; they are able to do so because of the technical advance of surface media. And, in a similar way, these surface media, including painting, graphics, and posters, are having increasing recourse to linear thought, and they can do so because their own technical advance permits it. Although + +------------- +------------- +------------- + +## [[codified world]] - [[flusser]] + +The red traffic light means “Stop!” and the obnoxious green of peas means “Buy me!” This explosion of colors means something. + +------------- +------------- +------------- + +https://notes.andymatuschak.org/z8aiVRywvJYDB9gvpCDxa4KUBcKr8R4geNAi + +------------- +------------- +------------- + +## Stories against images + +History decays into images, not into stories. +Walter Benjamin, The Arcades Project, 476. + +### Arcades + +------------- +------------- +------------- + +"Já si nemyslím, že film má bejt nějakej virtuální svět, ve kterým se ztotožníte s hrdinou a projdete s ním až do konce a tím příběhem se všechno řekne" -# + +## [[Vachek]] + +------------- +------------- +------------- + +## [[nelson]] + +------------- +------------- +------------- + +## [[Warburg]] \ No newline at end of file diff --git a/pages/las.reconcept.md b/pages/las.reconcept.md new file mode 100644 index 0000000..4057cd3 --- /dev/null +++ b/pages/las.reconcept.md @@ -0,0 +1,51 @@ +# las.reconcept + +## 101 +- without social network context !!! +- through [ infinite canvas](https://www.infinite-canvas.org/) + +- https://excalidraw.com/#room=570c7bcfdd8d1b1a1467,RvDFVKOHWt3DpJxu4RPWOA + +----------- +## #chaosstream +- 3d objekt jako root + - bud skutecne 3d + - nebo animace == serie stils +- texty [[las.quotes]] jako vodic + - ---> animace textu + - -----> texty jako docs / hypertext +- texty jako markmap / map +- zvuky + - jako soundscape + - k videu jako synchra motivy +- video jen jako outside linky +- about sekce + +-- media +-- operating alien mythologies + + +## principles +### infos + +anchor pages + +### hypertext +- text i jako anotace svg / video +- jak resit anotace, zdroje hypertext + - ---> PARALLEL PAGES VISIBLY CONNECTED + +### visuals +- infinites zoom + - text + - 3d objects rerendered as svgs +- motion image + - asociativni videa + - text rerenders az abstrakce + - asociativni stills + +### sound +- as spaces within canvas + + +![[Pasted image 20210103175822.png]] diff --git a/pages/revisting_zoom.png b/pages/revisting_zoom.png new file mode 100644 index 0000000..c8b90ad --- /dev/null +++ b/pages/revisting_zoom.png @@ -0,0 +1,3 @@ +version https://git-lfs.github.com/spec/v1 +oid sha256:e5b4a332063cfc4979186c6ccab8a98fef9ceb4572df78fc44a4fba3e14ae425 +size 326552