truck nuts

wind witch

According to legends witches were believed to be able to control the wind. One method was with the use of three knots tied into a rope, or sometimes into a handkerchief. When the three knots were tied in the proper magical way, the wind was bound up in them. Witches gave, or sometimes sold, these magic knots to sailors to help them experience safe voyages (see *Ligature). The release of one knot brought a gentle, southwesterly wind; two knots, a strong north wind; and three knots, a tempest. In the folklore of the Shetland Islands and Scandinavia, some fishermen were said to have commanded the wind this way. The belief in controlling the wind by tying it goes back to the legends of ancient Greece; Odysseus received a bag of wind from Aeolus to help him on his journey.

Hajime Kinoko bondage tights

laces

*Ligature is a magical working by tying in a string, thread, or cord one to three knots, usually. Traditionally, for obvious reasons, it is used in binding spells. In ancient Greek times as well as in more recent English times knots were used by sorcerers and sea witches to harness winds and give sailors fair weather for sailing. In many Wiccan traditions knots are tied in the ritual cord belt of the initiation candidate. The number of knots, one, two or three, in the belt signifies the degree of initiation, first, second or third, which the person is receiving. The knots also magically bind the initiate in place and prevent his/her energies from being dispersed

http://ubu.com/film/steyerl_andrea.html

cloth-boat

http://www.packrafting.de/2010/

It was only 20 years after the innovation of waterproof fabrics by applying solvent rubber to cotton (Charles Macintosh, 1823, [5]) that Halkett introduced his 'Cloth-Boat'. 'Cloth' resembled both, it was the first inflatable watercraft at all, thus fully made of 'cloth'. But it was also indeed a piece of clothing, as it could be worn as a cloak.

apotrope

 

James Bridle: What you're looking at is a salt circle, a traditional form of protection—from within or without—in magical practice. In this case it's being used to arrest an autonomous vehicle—a self-driving car, which relies on machine vision and processing to guide it. By quickly deploying the expected form of road markings—in this case, a No Entry glyph—we can confuse the car's vision system into believing it's surrounded by no entry points, and entrap it.

google murrica

postal service

It is said that as many days as there are in the whole journey, so many are the men and horses that stand along the road, each horse and man at the interval of a day’s journey; and these are stayed neither by snow nor rain nor heat nor darkness from accomplishing their appointed course with all speed.

ATTRIBUTION:

HERODOTUS, Herodotus, trans. A.D. Godley, vol. 4, book 8, verse 98, pp. 96–97 (1924).   A paraphrase of this motto—“Neither snow, nor rain, nor heat, nor gloom of night stays these couriers from the swift completion of their appointed rounds”—is carved over the entrance to the central post office building in New York City. The method of carrying messages Herodotus describes was a Persian invention and enabled the messengers to travel swiftly. In this fashion King Xerxes sent a message home to Persia that the Greeks had destroyed his fleet off Salamis in 480 B.C.—George Stimpson, A Book About a Thousand Things, pp. 69–70 (1946). 360 no-scope A dumb move often performed by people too bored with a first-person shooter wherein a player using a sniper rifle fires and kills a target, without zooming in, while turning around as fast as humanly possible.

dejima / exit island

dreaming the flythrough

tekken7

bon voyage

Time travel

http://www.lrb.co.uk/v37/n17/fredric-jameson/in-hyperspace

But where did the genre come from? My own hypothesis is a very general one: namely, that the late 19th-century invention of SF correlates to Walter Scott’s invention of the modern historical novel in Waverley (1814), marking the emergence of a second – industrial – stage of historical consciousness after that first dawning sense of the historicity of society so rudely awakened by the French Revolution. David Wittenberg does much better than this, but his remarkable hypothesis is only one of the conceptual breakthroughs in this stimulating contribution to literary theory. I will dwell mainly on the three that interest me the most: the relationship of SF to modernism in the arts; the historical periodisation of the genre; and the dramatic challenge to narratology as a field, with implications for the theory of ideology as well as for the analysis of narrative structure itself (of which the time-travel story, with all its ineradicable paradoxes, suddenly becomes the fundamental paradigm). Nor is philosophy itself untouched by the fallout from these dramatic revisions: after all, the phenomenological ego is a temporal matter, and time itself one of its fundamental paradoxes, which neither Husserl nor Heidegger ever laid to rest.

constellated

sandbags and rocks

news

black box // last words

 the black box functions as a perfect synecdoche: one surviving part that at a human and material level, can reassemble the disintegrated whole

http://planecrashinfo.com/lastwords.htm

Eric Partridge suggests that it is in use from 1945 in RAF slang to signify any mysterious, clever piece of equipment on board a plane (interestingly, he says it was first applied to a device that allowed bomb aimers to see through clouds or darkness). Presumably the term gets transferred to one specific device, the flight recorder, not because the insides of such a thing are particularly intricate or mysterious (it’s just a sound recorder), but because they are made to be inaccessible. But, in either case, the ‘black box’ seems to point to a new phase of machinery, one in which machines, traditionally things which can be made fully explicit, and opened up to show their workings, start to have the same magical inaccessibility as selves, persons or souls.

http://literature-technology-media.co.uk/?p=280

hyoid / gravelly hill

But isn't Kennedy already dead?

Captain Webster studied the documents laid out on Dr. Lancaster's demonstration table. These were:

(1) a spectroheliogram of the sun;

(2) tarmac and takeoff checks for the B29 Superfortress Enola Gay;

(3) electroencephalogram of Albert Einstein;

(4) transverse section through a Pre-Cambrian Trilobite;

(5) photograph taken at noon, August 6, 1945, of the sand-sea, Qattara Depression, Libya;

(6) Max Ernst's "Garden Airplane Traps".

just what is it...

...a convincing vision of the future that lay ahead - the muscleman husband and his stripper wife in their suburban home, the consumer goods, such as the tin of ham, regarded as ornaments in their own right ... we are what we sell and buy.

ballard / miracles of life / this is tomorrow 1956

war machine and christy mack

links

A Psychopathic Hymn:

J.G. Ballard's 'Crashed Cars' Exhibition of 1970

Passings – J. G. Ballard: Philosopher of the Future Present

Jim Haynes / Arts Lab

The Assassination Weapon

Re: They're four hundred feet high
Posted by: "stwrtmckenzie"
Date: Sun Jul 30, 2006

Not one of the people, the person.  I put it together with people from the Human Family, an English version of the Living Theater, working out of the Arts Laboratory under the exuberant patronage of Nigel Samuel, and students from one of the London theater colleges who provided actors and early multi-media technicians. We put on a demo at the ICA and Ballard came to see it, he loved it and invited me to join him in a video about the sexuality of car crashes which, I confess, sounded unappealing.  It was performed at the ICA for about a week with the title "The Assassination Weapon, A Transmedia Search for Reality" some time in 1968 or 1969.  It was performed a couple of times after that at the Regent Street Polytechnic School of Architecture and The Architectural Association.  The show took Ballard's text from The Assassination Weapon with early analog electronic distortion and music, and played this back in surround streo around a vertical circular screen, about ten feet in diameter, which revolved slowly at the center of circles of concentric seats separated by four access corridors at the four cardinal points.  The fire marshal required that the seats be fixed and I spent four days stapling chairs to a perfect hardwood floor, to the horror of my ICA minder.  Once the audience was seated, the recording of The Assassination Weapon was played back and four projection tables shooting down the access corridors combined images on the revolving screen which could take front and back projection.  I asked Jack Henry Moore, then the director of the Human Family, for a recommendation for the material for this screen, he recommended bed linen soaked in Parrafin (a flamable liquid), he said it took back projection beautifully.  I decided that, after the trouble with the chairs, I would not go to the mat with the fire marshal on this one, it was a white plastic.  The projection tables had a variety of image and light emitting parephanalia, still and movie projectors, boiling liquids (this was the sixties), rotating color filters. strobes, smoke machines, etc.  There was an image script but some room for improvisation to exploit happy coincidences on the screen which could become quite complex since, in addition to the front and back projection, the sides of screen segments (it was made up of six pizza slices bolted together) caught projections as the screen rotated, introducing lines of color and fragments of images into the main projection.  The English humor magazine "Punch" found it "Puzzling", the English manners magazine "The Lady" found it "Trying".  We played to full houses at every performance.  London was fun back then.
 

InHaloGame

http://a3.video4.blip.tv/0450000338793/Ifbook-McKenzieWarkInterviewInHaloGameThisSpartanLife473.mov?ri=52143&rs=2054

poppy

histroygrrlz