Automatic update, changed: incubation.archives in art history.md, incubation.interface.md

pages/concepts.archive.md

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+# Archive
+
+## Theory
+### [[incubation.archives in art history]]
+
+## Digital
+### Tools
+[[tools.archivebox]]]
+
+#### Twitter
+https://the.rip

pages/dream.04.01.2021.md

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+Deda mladaek
+- wo heisst leben/lieben//eiben
+
+
+Utuzak

pages/fulldocs.internet_is_worse.md

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+- [Tweet](https://twitter.com/i/status/1345439053076967433) by [@erasmusNYT](https://twitter.com/erasmusNYT) on [[January 3rd, 2021]]:
+- it’s not just you: the internet has gotten significantly worse in virtually every respect.
+- + pages load faster.
+  - google results are less useful.
+  - google discontinues useful programs because that’s not how they make money.
+  - all sites are full of “one weird trick” tooth/colon ads.
+  - independent media is dead or faces saudi-funded takeovers.
+- our talented mercenaries are working on making ads harder to bypass and more deceptively clickable.
+  - facebook blew up countless small media outlets with their false data pushing the “pivot to video”
+  - good luck knowing what you’re getting off of amazon. alternatives? lol
+- this page wants to know your location. accept / deny
+  - this page wants to send you notifications. accept / deny
+  - this page uses cookies. click here to accept (or click through three links to opt out of tracking)
+  - ˢᵒʳʳʸᵎ ʸᵒᵘ’ʳᵉ ᵒᵘᵗ ᵒᶠ ᶠʳᵉᵉ ᵃʳᵗᶦᶜˡᵉˢ
+- you still don’t “own” almost anything digital you pay for. your software, most music, and kindle ebooks are just licensed to you.
+  - the legal fiction that people “click to accept” is informed consent to a given website’s terms of service has consequences
+- you have almost certainly waived your right to sue in a class action (or even aggregated arbitration) against any of the ten companies that control 90% of the web
+  - AWS concentrating “the cloud” in some virginia warehouses leaves us open to outages.
+- paranoid individuals who generally say “i think i’m being tracked, listened to, and monitored at all hours” cannot reasonably be rebutted
+  - morgellons awareness at an all-time low! people ignore that very real issue in favor of nonsense conspiracy theories!! (i’m joking)
+- failure to regulate health and medical advice (esp. in USA, with lack of qualified healthcare accessibility) has led to more people self-diagnosing with shit like chronic lyme disease and deciding chiropractic neck manipulations will fix it.
+- impossible to tell what is an astroturfed political campaign or psyop, and what is the natural result of USA’s cultural hegemony and its trademark style of thinking: “ideological incoherence”
+- your personal data got leaked by someone you didn’t realize had it, or you never consented to it’s collection? your best case scenario is that $125 from equifax, and you’re still waiting for that. no ability to opt out from the next one.
+- everything that seemed like a simple-enough idea, “paypal, a site for secure online payments :)” or “an app that lets you find a taxi cab on your phone :)” directly funds global reactionary movements or city-destroying urban engineering
+- websites that prided themselves on being low- to no-moderation became safe havens for neo-nazis.
+  - websites that *have* attempted to moderate right-wing extremism still pander to right-wing elected reps who would otherwise violate their terms and conditions.
+- consolidation and algorithmic tracking in pornography has created bland uniformity in mainstream US production, but no accompanying increase in sex worker wages and benefits.
+  - with all these other problems online, congress only rallies around the cruel joke of SESTA/FOSTA.
+- journalists—even pretty good ones!—believe that their online critics represent a major social problem and spend a disproportionate amount of energy focused on petty grievances.
+- scores of talented, beloved celebrities seem unable to personally process questions about their own gender that are raised by the existence of trans people. rather than reflect, they contribute to an ultra-loud narrative that the trans mafia is trying to destroy them.
+- children do not have ready access to transient forums to post stupid takes or edgy jokes. the odds are much greater that a dumb comment they regret and abhor will go on to haunt them forever.
+- on top of all that’s been said about microtransactions, app and game designers have figured out how to deliver casino mechanics to children and profit from early-in-life gambling addictions. we’ll see how early exposure to gambling affects youth in about 10 years, maybe?
+- 108 million subscribers [pic.twitter.com/CF6RayYlu1](https://twitter.com/erasmusNYT/status/1345459749920403456/photo/1)
+- lots of misinformation spreads through, say, twitter threads. confidently asserted by confident, putative experts who have no idea what they’re talking about.
+  - actually worthwhile twitter threads (e.g. this one) fail to make a big enough splash to get anything changed.
+- that’s enough from me. add your own if you like. the internet is collaborative when it’s at its best.
+- thanks whoever summoned the “thread unroll” bot for providing this helpful example. [pic.twitter.com/tpgkQB6aWX](https://twitter.com/erasmusNYT/status/1345679425338224641/photo/1)

pages/incubation.archives in art history.md

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 ## Bilderatlas mnemosyne
-![](atlas_mnemosyne_desc.png)
+
+>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

pages/incubation.interface.md

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 [Screen As Room: An Architectural Perspective on User Interfaces](https://www.christophlabacher.com/notes/screen-as-room)
 
-UI UX...........................
+UI UX...........................
+
+![image.png](blob:vector://vector/9087222b-5414-45aa-b20f-610a36a40995)

pages/las.quotes.md

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+
+
+
+## [[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]]

pages/las.reconcept.md

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+# 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]]