computational thermoforming

http://igl.ethz.ch/research/

grief increases by concealing

Scene [I]: The Cave
     [enter Sorceress]
     
     [PRELUDE FOR THE WITCHES]
     
     SORCERESS
     Wayward sisters, you that fright
     The lonely traveller by night
     Who, like dismal ravens crying,
     Beat the windows of the dying,
     Appear! Appear at my call, and share in the fame
     Of a mischief shall make all Carthage flame.
     Appear!
     [enter Enchantresses]

 ACT THE FIRST
     
     Scene: The Palace
     [enter Dido, Belinda and train]
     
     BELINDA
     Shake the cloud from off your brow,
     Fate your wishes does allow;
        Empire growing,
        Pleasures flowing,
     Fortune smiles and so should you.
     
     CHORUS
     Banish sorrow, banish care,
     Grief should ne'er approach the fair.
     
     DIDO
     Ah! Belinda, I am prest
     With torment not to be Confest,
     Peace and I are strangers grown.
     I languish till my grief is known,
     Yet would not have it guest.
     
     BELINDA
     Grief increases by concealing,

 DIDO
     Mine admits of no revealing.

horrors of malformed men

time lost

║║╔║║╔╗ ║
╠╣╠║║║║ ║
║║╚╚╚╚╝ O ❀

;_;

Level-1 or world space is an anthropomorphically scaled, predominantly vision-configured, massively multi-slotted reality system that is obsolescing very rapidly.

Garbage time is running out.

Can what is playing you make it to level-2?

—Nick Land, “Meltdown”

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

"The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember."
From The Concept of Nature by Alfred North Whitehead (1920) - See more at: http://apexart.org/exhibitions/manzione.php#sthash.sJN1zwFf.dpuf

darstellungsmethode

View post on imgur.com

Formally speaking, cinematic interludes are a type of grotesque fetishization of the game itself as machine. The machine is put at the service of cinema. Scenes are staged and produced from the machine either as rendered video or as procedural, in-game action. Hollywood-style editing and postproduction audio may also be added. So, ironically, what one might consider to be the most purely machinic or “digital” moments in a video game, the discarding of operator and gameplay to create machinima from the raw machine, are at the end of the day the most nongamic. The necessity of the operator-machine relationship becomes all too apparent. These cinematic interludes are a window into the machine itself, oblivious and self-contained. The actions outlined here are the first step toward a classification system of action in video games. Because they transpire within the imaginary world of the game and are actions instigated by the machine, I will call the first categorydiegetic machine acts. The material aspects of the game environment reside here, as do actions of non-player characters. This moment is the moment of pure process. The machine is up and running — no more, no less.

Galloway ///Gamic Action, Four Moments

11

Born and raised by those who praise
Control of population everybody's been there and
I don't mean on vacation
[Chorus:]
First born unicorn
Hard core soft porn
Dream of Californication
Dream of Californication
Dream of Californication
Dream of Californication

--> Objects causing griefing or excessive lag may be returned or deleted with impunity

--> subtle trust movements 

-->

Choose 'Detach' from my menu to take me off.

 

>this person's griefing me plox ban

--> >Ad hominem as a lifestyle

You are no longer allowed here and have 15 seconds to leave.

-->

: ◕◡ ◕

--> You have been ejected from this land.

poets are useless

"You will remember how Plato deals with poets in his ideal state: he banishes them from it in the public interest. He had a high conception of the power of poetry, but he believed it harmful, superfluous - in a perfect community, of course. The question of the poet's right to exist has not often, since then, been posed with the same emphasis; but today it poses itself. Probably it is only seldom posed in this form, but it is more or less familiar to you all as the question of the autonomy of the poet, of his freedom to write whatever he pleases... A more advanced type of writer does recognize this choice. His decision, made on the basis of class struggle, is to side with the proletariat... Such writing is commonly called tendentious. Here you have the catchword around which has long circled a debate familiar to you. Its familiarity tells you how unfruitful it has been, for it has not advanced beyond the monotonous reiteration of arguments for and against: on the one hand, the correct political line is demanded of the poet; on the other, one is justified in expecting his work to have quality. Such a formulation is of course unsatisfactory as long as the connection between the two factors, political line and quality, has not been perceived. Of course, the connection can be asserted dogmatically. You can declare: a work that shows the correct political tendency need show no other quality. You can also declare: a work that exhibits the correct tendency must of necessity have every other quality. This second formulation is not uninteresting, and, moreover, it is correct. I adopt it as my own. But in doing so I abstain from asserting it dogmatically. It must be proved... the tendency of a literary work can be politically correct only if it is also literarily correct. That is to say, the politically correct tendency includes a literary tendency. And I would add straightaway: this literary tendency, which is implicitly or explicitly contained in every correct political tendency of a work, alone constitutes the quality of that work."

("The Author as Producer")

A 3D illustration of a metasurface skin cloak made from an ultrathin layer of nanoantennas (gold blocks) covering an arbitrarily shaped object. Light reflects off the cloak (red arrows) as if it were reflecting off a flat mirror.