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

pages/las.quotes.cities.md

@@ -142,6 +142,21 @@ ambience x ambiance - space and connection and space and context
 > 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. 
 
 
+### 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.
+>  
+
 ## R&D neeeded
 
 
@@ -164,20 +179,6 @@ https://contempaesthetics.org/2020/07/16/urban-kinaesthetics/
 >
 > 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.
->  
 
 ### <>>?::{{>"?"}}