Automatic update, changed: concepts.digital garden.md, incubation.infinitecanvas.md, incubation.interface.md, las.quotes.cities.md

pages/concepts.digital garden.md

@@ -28,8 +28,8 @@ __________________________________
 - [Andy Matuschak](https://notes.andymatuschak.org)
 - - [nikitavoloboev/knowledge: Everything I know](https://github.com/nikitavoloboev/knowledge)
 - https://groktiddlywiki.com/read/
-
-### [[concepts.knowledge managment]]
+- https://anagora.org/index
+	- social network X digital garden
 
 
 ## tools 

pages/incubation.infinitecanvas.md

@@ -1,2 +1,14 @@
-## tools
-- https://dragonman225.js.org/jade
+# Infinite Canvas
+
+>The **infinite canvas** refers to the potentially limitless space that is available to [webcomics](https://en.wikipedia.org/wiki/Webcomics "Webcomics") presented on the [World Wide Web](https://en.wikipedia.org/wiki/World_Wide_Web "World Wide Web"). The term was introduced by [Scott McCloud](https://en.wikipedia.org/wiki/Scott_McCloud "Scott McCloud") in his 2000 book _[Reinventing Comics](https://en.wikipedia.org/wiki/Reinventing_Comics "Reinventing Comics")_, in which he suggested that webcomic creators could make a [web page](https://en.wikipedia.org/wiki/Web_page "Web page") as large as needed to contain a comic page of any conceivable size. This infinite canvas would create an endless amount of storytelling benefits and would allow creators much more freedom in how they present their artwork.
+> -  https://en.wikipedia.org/wiki/Infinite_canvas
+
+## Tools
+- https://dragonman225.js.org/jade
+- https://gitlab.com/tmladek/line-and-surface/
+
+## Adjacent
+- [[las]]
+- [[las.inspirations]]
+- [[incubation.interface]]
+- [[concepts.map]] and [[concepts.moc]]

pages/incubation.interface.md

@@ -23,11 +23,13 @@ UI UX...........................
 
 ![[meme.interface.20210725225803.png]]
 
-[[concepts.parallel textface]]
+- [[concepts.parallel textface]]
 
-[[fulldocs.twitter.zoomable_ui]]
+- [[fulldocs.twitter.zoomable_ui]]
 
-[[incubation.screen]]
+- [[incubation.screen]]
 
-[[people.SeanCubitt]]
+- [[people.SeanCubitt]]
 
+- [[incubation.infinitecanvas]]
+- [[concepts.map]]

pages/las.quotes.cities.md

@@ -51,7 +51,7 @@ than geographically and see the city not as a geographical place, but rather as
 
 > The three spaces of the city intermingle with one another today like fuzzy sets. The public space pushes into the private thanks to cable (as in the case of television). Private space pushes into public thanks to machines (like cars). The city really no longer contains distinct private and public spaces, and the theoretical space is so thoroughly integrated into both that it is no longer recognizable because it has changed so much. Theory means contemplativeness, and it is sacred because it rises above the flow of commerce. From this we get the weekend, vacation, retirement, and unemployment.
 
-**YES**
+**#cities**
 > We are those who are individuals who come together in the city. The old
 image of the city rests upon this image of humanity. This image of humanity has become unsuitable. Everything is divisible, and there can be no individual. Not only can atoms be split into particles but so can all mental objects; actions become “aktomes,” decisions become “dezidemes,” perceptions become stimulations, representations become pixels.
 
@@ -80,7 +80,7 @@ cisely because it sounds utopic it is realistic.
 #### [[fulldocs.We Go Round and Round in the Night and Are Consumed by Fire]]
 
 #### [[fulldocs.Theory of the Dérive]]
-**YES**
+** #cities **
 > In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.
 
 >Today the different unities of atmosphere and of dwellings are not precisely marked off, but are surrounded by more or less extended and indistinct bordering regions. The most general change that dérive experience leads to proposing is the constant diminution of these border regions, up to the point of their complete suppression. 
@@ -96,7 +96,7 @@ cisely because it sounds utopic it is realistic.
 
 >  The revolutionary transformation of the world, of all aspects of the world, will confirm all the dreams of abundance. The sudden change of ambiance in a street within the space of a few meters; the evident division of a city into zones of distinct psychic atmospheres; the path of least resistance which is automatically followed in aimless strolls (and which has no relation to the physical contour of the ground); the appealing or repelling character of certain places--all this seems to be neglected. In any case it is never envisaged as depending on causes that can be uncovered by careful analysis turned to account. People are quite aware that some neighborhoods are sad and others pleasant. But they generally simply assume elegant streets cause a feeling of satisfaction and that poor street are depressing, and let it go at that. In fact, the variety of possible combinations of ambiances, analogous to the blending of pure chemicals in an infinite number of mixtures, gives rise to feelings as differentiated and complex as any other form of spectacle can evoke. The slightest demystified investigation reveals that the qualitatively or quantitatively different influences of diverse urban decors cannot be determined solely on the basis of the era or architectural style, much less on the basis of housing conditions.
 
-**YES**
+** #cities ** #arcades
 > Certain of Chirico's paintings, which are clearly provoked by architecturally originated sensations, exert in turn an effect on their objective base to the point of transforming it: they tend themselves to become blueprints or models. Disquieting neighborhoods of arcades could one day carry on and fulfill the allure of these works. 
 >
 > I scarcely know of anything but those two harbors at dusk painted by Claude Lorrain--which are at the Louvre and which juxtapose extremely dissimilar urban ambiances--that can rival in beauty the Paris metro maps. It will be understood that in speaking here of beauty I don't have in mind plastic beauty--the new beauty can only be beauty of situation--but simply the particularly moving presentation, in both cases, of a _sum of possibilities._
@@ -105,20 +105,20 @@ cisely because it sounds utopic it is realistic.
 
 #### Formulary for a New Urbanism
 
-**YES**
+** #cities ** ** #perspective **
 >  All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a _closed_ landscape whose landmarks constantly draw us toward the past. Certain _shifting_ angles, certain _receding_ perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.
 
-**YES**
+** #cities **
 >  Darkness and obscurity are banished by artificial lighting, and the seasons by air conditioning; night and summer are losing their charm and dawn is disappearing. The man of the cities thinks he has escaped from cosmic reality, but there is no corresponding expansion of his dream life. The reason is clear: dreams spring from reality and are realized in it.
 
-**YES**
+** #cities  **
 >   Architecture is the simplest means of _articulating_ time and space, of _modulating_ reality, of engendering dreams. It is a matter not only of plastic articulation and modulation expressing an ephemeral beauty, but of a modulation producing influences in accordance with the eternal spectrum of human desires and the progress in realizing them.
 
 ### [[people.WalterBenjamin]]	
 
 #### arcade project
 
-**YES**
+** #cities ** ** #arcades  **
 > The crowd was the veil from behind which the familiar city as phantasmagoria beckoned to the _flâneur_. In it, the city was now landscape, now a room. And both of these went into the construction of the department store, which made use of _flânerie_ itself in order to sell goods. The department store was the _flâneur's_ final coup. As _flâneurs_, the intelligentsia came into the market place. As they thought, to observe it – but in reality it was already to find a buyer. In this intermediary stage ... they took the form of the _[bohème](https://en.wikipedia.org/wiki/Bohemianism "Bohemianism")_. To the uncertainty of their economic position corresponded the uncertainty of their political function.
 
 >  Drawing on Fournel, and on his analysis of the poetry of Baudelaire, [Walter Benjamin](https://en.wikipedia.org/wiki/Walter_Benjamin "Walter Benjamin") described the _flâneur_ as the essential figure of the modern urban spectator, an amateur detective and investigator of the city. More than this, his _flâneur_ was a sign of the alienation of the city and of capitalism. For Benjamin, the _flâneur_ met his demise with the triumph of [consumer capitalism](https://en.wikipedia.org/wiki/Consumer_capitalism "Consumer capitalism").[\[7\]](https://en.wikipedia.org/wiki/Fl%C3%A2neur#cite_note-benjamin-7)
@@ -184,6 +184,7 @@ here and there, in architects, just as people blindly
 believe in doctors. - Le Corbusier
 
 ### [[people.ClaudeBragdon]]
+** #cities  #human
 > MAN THE SPACE-EATER
 >
 > Man has been called the thinking animal. Space-eater would be a more appropriate title, since he so dauntlessly and persistently addresses himself to overcoming the limitations of his space. To realize his success in this, compare, for example, the voyage of Columbus' caravels with that of an ocean liner; or traveling by stage coach with train de luxe. Consider the telephone, the phonograph, the cinematograph, from the standpoint of space-conquest—and wireless telegraphy which sends forth messages in every direction, over sea and land. Most impressive of all are the achievements in the domain of astronomy. One by one the sky has yielded its amazing secrets, till the mind roams free among the stars. The reason why there are to-day so many men braving death in the air is because the conquest of the third dimension is the task to which the Zeit-Geist has for the moment addressed itself, and these intrepid aviators are its chosen instruments—sacrificial pawns in the dimension-gaining game.
@@ -201,7 +202,7 @@ Here, however, constructional relations are not illumined by a feeling for the o
 
 ## [[fulldocs.Transmitting Architecture-The Transphysical City]]
 
-- also[[Quotes.transmitting.architecture]]
+- also [[Quotes.transmitting.architecture]]
 
 >**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.