Friday, 25 May 2012

non written poems

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Aleksei Kruchenykh / universal war / 1916

Edgar Allan Poe / The Philosophy of Composition / 1846

Saturday, 19 May 2012

Bleek and Lloyd

!nanni  27 May 1881
1. Shaka (a creeping plant the fruit of which is said to be eaten raw by the Natives of !nanni's country.), 2. Shaka flowers, 3. [ditto] fruit, 4. !kun, Bushman, 5. !kun tchu, Bushman house, 6. !yu !n'ubbu, The leaves of the !yu tree (which have fallen on the ground.)

1. |xue tchu, |xue's hut, 2. smoke of the fire, 3. Tchu tsi, entrances, 4. Path., 5. grass which has fallen off the hut., 6. Firewood, 7. |xue's back apron of monkey skin, 8. Its strings, 9. |xue shu-ssi, |xue's (day) place for lying down


The Digital Bleek and Lloyd includes scans of every page of the 110 Lucy Lloyd |xam notebooks, 17 Lloyd (mostly) !kun notebooks and 28 Wilhelm Bleek |xam notebooks. It also includes Jemima Bleek's solitary Korana and !kun notebook and four Lloyd Korana notebooks in the Maingard collection of the Library at the University of South Africa, as well as Dorothea Bleek's 32 notebooks. All the drawings and watercolours made by |han≠kass'o, Dia!kwain, Tamme, |uma, !nanni and Da are also in the digital collection.

average colour of the universe


Wednesday, 16 May 2012

Tuesday, 15 May 2012

Ampullae of Lorenzini

At some point during the evolution of elasmobranchs the lateral line pores around the snout developed a sensitivity to fluctuations of the electrical fields in the sharks habitat. These modified sensory organs are known as the ampullae of Lorenzini. They consist of relatively large bulbous pores filled with a gelatinous substance. Connected to the pores are cylindrical canals in which the gelatinous secretions are stored. At the base of each pore is a sensory nerve which transports the electrical signals (which are collected by sensory cells lining the pore) to the brain. Actively hunting sharks may have as many as 1500 ampullae around their snout and head whilst more sedate species may only have a few hundred. The ampullae also react to a lesser degree to temperature and pressure changes.
The ability of sharks and rays to detect weak electrical signals in their surroundings may be one of the greatest factors relating to their survival through the millennia. The organs are sensitive enough for hammerheads and some other sharks to detect the small electrical signals put out by their prey whilst it hides motionless below the sand. In fact the ampullae are so sensitive that they can pick up voltage fluctuations of just 10 millionths of a volt or the equivalent of the electrical gradient of a AA battery with wires put into the sea 1 mile apart. It has been suggested that the widened heads of the hammerhead family may be an adaptation designed to increase the triangulation capabilities of their electroreception. 
When sharks are close to prey it appears that their electrical sense takes over from sight or smell. This would explain why sharks which have been chummed to a fishing or shark diving boat will sometimes attack the propellers and other metal objects rather than the bait which has been put in the water in front of them.

topography and photosculpture.


American, c. 1870. Ivory painted plaster cast statue of Ulyses S. Grant in military uniform seated on a cloth draped chair smoking a cigar, the wood grain painted base with the intials U.S.G. and Photosculpture on the front, the back with "Pat. Aug. 27, 1867". 21 in. high.

The early roots of rapid mechanical prototyping technology can be traced to at least two technical areas: topography and photosculpture.

As early as 1890, Blanther (1892) suggested a layered method for making a mold for topographical relief maps. The method consists of impressing topographical contour lines on a series of wax plates, cutting the wax plates on the contour lines, and then stacking and smoothing the wax sections. This produces both positive and negative three-dimensional surfaces that correspond to the terrain indicated by the contour lines. After suitable backing of these surfaces, a printed paper map is then pressed between the positive and negative forms to create a raised relief map. 

Photosculpture arose in the 19th century in attempts to create exact three-dimensional replicas of objects, including human forms (Bogart 1979). One somewhat successful realization of this technology was designed by Frenchman François Willème in 1860. In his method, shown in Fig. 3.3, a subject or object was placed in a circular room and simultaneously photographed by 24 cameras placed equally about the circumference of the room. The silhouette of each photograph was then used by an artisan in Willème's studio (Fig. 3.4) to carve out 1/24th of a cylindrical portion of the figure. 

from parallel/synchronous/ spatial to serial/linear/temporal:

Monday, 14 May 2012


Fragment 3

... For the same thing is for thinking and for being.
... for the same thing can be thought and can exist
... for "to be thought" and "to be" are the same [thing].
... denn dasselbe ist Denken und Sein.

Sunday, 13 May 2012

The Chronocyclegraph

The technique was developed by Frank Gilbreth and his wife, Lillian in the early 20th century to improve work methods. The couple employed time-lapse photography to reduce a complete work cycle to the shortest and most efficient sequence of gestures.
To look for this optimal "relationship of human effort to the volume of work that the effort accomplishes", they attached a camera to a timing device and photographed workers performing various tasks. The motion paths were traced by small lamps fastened to the worker's hands or fingers.

From image verso: "Left hand of drill press operator 'Positioning after transportation' (this study resulted in cutting the time in halves)." Machinist with light showing hand movements, circa 1915. Collection: Frank B. Gilbreth Motion Study Photographs (1913-1917). Repository: The Kheel Center for Labor-Management Documentation and Archives


The Chip Shots website explores the hidden beauty in some of today's hottest microprocessors as visualized under a microscope. Using a variety of highly refined reflected optical microscopy techniques, we have developed a large collection of full-color photomicrographs (photographs taken through a microscope) illustrating the intricate and surprising patterns observed on integrated circuit surfaces.

the future is unmanned

sociopathic cyberslut says "There's been a lot of flaming on the Net about the contents of Circuit Boy's sizeable tool. They say it packs a digi but it keeps crashing. Not enough RAM where it counts You say "I'm not surprised. Boy's a retro technonerd who hasn't heard that the future is unmanned

Gestures against the Virtual Republic


points, knots, focuses

The points, knots, or focuses of resistance are spread over time and space at varying densities, at times mobilizing groups or individuals in a definitive way, inflaming certain points of the body, certain moments of life, certain types of behaviour. Are there no great radical ruptures, massive binary divisions, then? Occasionally, yes. But more often one is dealing with mobile and transitory points of resistance, producing cleavages in a society that shift about, fracturing unities and effecting regroupings, furrowing across individuals themselves, cutting them up and remolding them, marking off irreducible regions in them, in their bodies and minds. Just as the network of power relations ends by forming a dense web that passes through apparatuses and institutions, without being exactly localised in them, so too the swarm of points of resistance traverses social stratifications and individual unities. And it is doubtless the strategic codification of these points of resistance that makes a revolution possible.

Michel Foucault / History of Sexuality / Vol 1
Tiqqun/ This is not a Program / Arm the Imaginary Party!

Tuesday, 8 May 2012


In 1980, a full eight years after his first use of the crosshatch motif, Johns received a postcard reproduction of Edvard Munch's Between the Clock and the Bed (1940–42; Munch Museum, Oslo). In this late self-portrait, Munch, near death, depicted himself in his bedroom, standing in front of the open door to his studio; the bright red and dark blue pattern of the bedspread is rendered in a fashion markedly similar to Johns's crosshatches. Between 1980 and 1982, Johns, inspired by the Munch work, made several drawings and two large paintings based on the crosshatch motif. These works culminate in Johns's monumental grisaille encaustic painting Between the Clock and the Bed. This picture is the last major independent articulation of the crosshatch (as of this writing). Johns incorporated touches of red, blue, yellow, green, ocher, pink, and purple, but the painting is predominantly gray. For whatever reasons, Johns chose to end his extended treatment of the crosshatch motif with this distillation in gray.

Jasper Johns / Gray

Monday, 7 May 2012

i-borg / e-borg/ we-borg ...explaining pictures...


'wie man dem toten Hasen die Bilder erklärt’

Meyer, Ursula. “How to Explain Pictures to a Dead Hare,” Art News, January, 1970. Based on conversations with Joseph Beuys:

In How to Explain Pictures to a Dead Hare, Beuys covered his head with honey and gold-leaf, transforming himself into a sculpture. He cradled the dead hare in his arms and took it “to the pictures and I explained to him everything that was to be seen. I let him touch the pictures with his paws and meanwhile talked to him about them… I explained them to him because I do not really like explaining them to people. Of course there is a shadow of truth in this. A hare comprehends more than many human beings with their stubborn rationalism… I told him that he needed only to scan the picture to understand what is really important about it. The hare probably knows better than man that directions are important. You know the hare can turn on a dime. And actually nothing else is involved.”

At the beginning of the performance Beuys locked the gallery doors from the inside, leaving the gallery-goers outside. They could observe the scene within only through the windows. With his head entirely coated in honey and gold leaf, he began to explain pictures to a dead hare. Whispering to the dead animal on his arm in an apparent dialog, he processed through the exhibit from artwork to artwork. Occasionally he would stop and return to the center of the gallery, where he stepped over a dead fir tree that lay on the floor.[2] After three hours the public was let into the room. Beuys sat upon a stool in the entrance area with the hare on his arm and his back to the onlookers.

“For me the Hare is a symbol of incarnation, which the hare really enacts- something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth: that alone is important. So it seems to me. Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Therefore the stale and morbid nature of thought is once again made living. Honey is an undoubtedly living substance- human thoughts can also become alive. On the other hand intellectualizing can be deadly to thought: one can talk one's mind to death in politics or in academia.”

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