throwing shapes

...I'd ask her, but she's video-conferencing...

getting feed from ur glasses

...a single, sharp red dot centred on the fallen bot's torso

skinner

Airmedh's cloak

 the hand of Nuada cut off in battle

Credne Cerd, the smith, made a silver hand so skilfully that all the joints moved

Argentlam // silverhand

 No maimed person might rule.

Miach and Airmedh, son and daughter of Dian Cecht  arrive

They replace the eye of the half-blind doorkeeper with that of a cat

Gain access

Nuanda is tormented by an infection at the join of the silverhand and the flesh.

Miach has Nuanda's long-buried hand dug up

He chants a charm enjoining each sinew, nerve, vein and bone to reunite

In three days the hand and arm have feeling, deftness and touch

 Dian Cecht is furious that his son is a superior physician

He attacks and Miach heals himself until

his father cleft his brain in two.

out of Miach's grave there grew 365 herbs, each specific for healing the part of the body from which it had sprung.

365 herbs picked and laid out on Airmedh's  cloak according to the part of the body where it had grown to aid remembering its healing property


Dian Cecht shook up the mantle and muddled it

Coltsfoot // Coughwort

LUNGS

Viola Odorata 
HEART
< 3

<3heartsease br="">

 anti-neoplastic, antiseptic, soothing

Brigid's cloak // brat

She said to the king that the place where she was standing was the perfect spot. It was good fertile land, with access to water from a nearby lake and beside a forest where they could keep pigs, collect firewood and forage for foods like nuts and berries. The king refused. She smiled at the king and said “Will you give me as much land as my cloak will cover?” The king was intrigued, how could that be enough land to build a convent? The king agreed, interested to see what would happen. He knew Brigid was a very resourceful woman but he couldn’t see how this could work in her favour. Brigid spread her brat on the ground, she then asked her four companions to hold a corner of the brat and walk in opposite directions. The four friends walked north, south, east and west. The brat immediately grew and began to cover many acres of land. The king kept his promise. 

 

3D filament print containing mugwort, viola odorata, coltsfoot, rosemary

 

C CRU

ccru

virtual futures

cyberwar

Simon's interview with CCRU (1998)

wsa photosculpture apparatus @ csm

Many of the mechanical monsters produced in the nineteenth century still sur­vive today-machines without a nervous system of their own, constantly requiring the assistance of a human partner. Developments in the use of electricity, and above all the rise of electrOniCS, taking place less than a century after the mutation that pro­duced automotive machines, have triggered another mutation that leaves but little in the human organism still to be exteriorized. Machines have changed radically as a result of the development of small-scale motors, photosensitive cells, transistors, and miniaturized devices of all kinds. This disparate arsenal is supplying the parts for a composite body strangely similar to the biological one. Whereas nineteenth­ century machines with their voluminous energy sources conducted a single force to blindly acting organs via extensive transmission systems, today's machinery with its multiple sources of energy is leading to something like a real muscular system, con­ trolled by a real nervous system, performing complex operating programs through its connections with something like a real sensory-motor brain.

Leroi-Gorhan / Gesture & Speech

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

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'wie man dem toten Hasen die Bilder erklärt’

http://www.youtube.com/watch?v=P4ZkR1X6s7E

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.”