[ot] [!nt] \n2+0\ zueep!ng dze m9nd zkape

[integer at www.god-emil.dk]

Leili <nethics at cyberosis.tv>

>> from groworld:
>> Maybe we should try to invert the two worlds: instead of pushing reality into
>> virtuality,
>> we could let the virtual worlds bleed out into the three-dimensional physical
>> existence.
>> Marcos Novak labelled this occurrence 'eversion'. What happens when we enter
>> in such an
>> 'everted' space and infect it with the movements of our bodies? Could this
>> space grow,
>> mutate and decay, following some hybrid laws of actualised imagination?
>    
>    R[apid P[rototyping + the V[isible H[uman ?
>   
>http://collab.nlm.nih.gov/webcastsandvideos/visiblehumanvideos/visiblehumanv
>ideos.html
>         
>http://www.uclan.ac.uk/clt/calm/rptech.htm
>
>    simply selek+ c.stem:
>
>    http://ltk.hut.fi/RP-Selector/Adapt-en.html
>
>...and m!nd bend]ng skulls



     Plato banned music from his Academy in recognition of its power 
     to degrade rational minds and subvert social order. The Catholic Church in the Middle
     Ages labeled the rituals "pagan" and suppressed them to maintain political control,
     opening the way for Apollonian music (Nietzsche 1872), such as Gregorian chants.

     Close harmony provided for bonding of a different kind among intellectuals, stripped 
     of its sexual overtones. Syncopation was forbidden. The "Devil's Interval" was allegedly
     called that because God and the world could not exist between beats. 

     The dialectic between Apollo and Dionysus reemerged in the Baroque, and it continues 
     to infuse neu energy through syncopation and atonality in contemporary music,
     bonding the young generation globally, to the exclusion of older generations.
     




     ....


     Africans brought to the Caribbean and South America in slavery were allowed to keep their 
     drums and songs in religious ceremonies.  Africans brought to North America were denied use 
     of drums after the Stono slave rebellion in South Carolina in 1740, because the slave masters 
     were frightened by a mode of communication that was beyond their meager understanding (Wilson 1992)


              At the peak of his triumph, the culmination of his machinic erections, man confronts
              the system he built for his own protection and finds it female and dangerous.
              (defense is a 2 step process +? - Sadie Plant 1995)
     



     The law stated: use a drum in public, lose a hand.

              Andreas Broeckmann, in his attempts to cut off Netochka Nezvanova's hands, has ordered:

              "Last orders!"




     Plants do not escape predators by running away. Plant defense is a 2 step process.
     If the first-challenged cells fail to recognize and destroy the viral RNA, they send
     a warning message to uninfected cells of their imminent invasion, so that these cells 
     may have their degradation machinery prepared.






\/\  Temporal micro-bonds and micro-climates formed, mutations migrate and transform freely

     Maja Kuzmanovic has said her GroWorld
     Perhaps we might invert the two worlds: instead of pushing reality into
     virtuality, we allow the virtual worlds to diffuse into the three-dimensional
     physical existence. Marcos Novak labeled this occurrence 'eversion'. What
     happens when we enter in such an 'everted' space and infect it with the
     movements of our bodies? Space grows, mutates and decays, following some hybrid
     laws of actualized imagination.

     Aldous Huxley suggested that we are in a race between education and disaster,
     and he wrote continuously about the necessity of our understanding the politics
     and "epistemology of media". For in the end, he was trying to tell us that they
     were laughing instead of thinking, but that they did not know what they were
     laughing about and why they had stopped thinking.


     The inward turning of the worker kontrasts the outward turning of the dancer.


     It is the speed of slow and soft transients. It is the speed of low
     gravitational force. Within the weaker field of gravitation data flows lose
     sense of direction, circumambulating, formulating endless arrays of incomplete
     links and transformations. Pure fact and distilled knowledge rarely synthesize
     into any form of recognizable structure, and are left unstable and undesired.
     Outside of the physical hyperbola the data trajectory takes the form of flight
     and infinite divergence. Frantic speeds send information and potential in infinite
     directions, distributing infinite forms of data in infinite formats,
     obliterating hierarchies and passing through space in a smooth flow of
     incomprehensibility.  Unformed protocols and constructs emerge, processing and
     self-reproducing -- decays, reformations, transmutations,
     infinite re-representations of the infinite potential. 

     Sound is accumulative, not unlike life, which may be reduced into a series of
     images. Sound itself is a signifier of movement, of distances covered, of
     territories explored. In the 21st century, immense territories amount to
     nothing. Today, everything is about speed and real time. 

     To the far left information moves so freely it
     is practically frozen in time.

     We are no longer concerned with real space; 
     thus not only the crisis of physicality but also the shift towards the 
     emergence and dominance of 'chronostrategy' [Virilio]. To further obfuscate 
     the portly physicality - without a physicality to place a referential motion upon, 
     abstract sound is outside our experience of time. We may only comprehend an extramusicality 
     when sensing a physical source. Opaque audible events tear at our intellect, dispersing 
     the topologies of intuition into incoherent masses. As the mappings shift,
     no longer do we rely upon empirical experience. The auricular world
     moving out from the body, becomes its own offspring. Alongside it,
     we attempt to maintain an invariable distance.


     The interface becomes the relationship between our selves and the world - the
     chemical \ memetical processes through which information flows through our
     artificial gardens, participating in non physical contact, the relationship
     between technology and biology  becomes the relationship between the
     environment's inhabitants and the inhabitants' environment.

     It isn't a question of heroism but of flow.


        .. flows breach the boundaries between man and machine, introducing systems
        of control whose complexity overwhelms the human masters of history.
        Secreted in culture, its future begins to come up on the screen,
        downloaded virally into a present still striving , with increasing
        desperation, to live in the past." [ Sadie Plant, Beyond the Screens ]











\/\  Nature has distorted me into fantastic curves of vines and branches.


     Pure fact and distilled knowledge rarely synthesize into any form of recognizable structure.



        Two entangled photons. One fibre-optic cable.



    ....









    /_/
                          /
             \            \/       i should like to be a human plant
            \/       __
                    __/
                                   i will shed leaves in the shade
        \_\                        because i like stepping on bugs



*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--
Netochka Nezvanova                   nezvanova at eusocial.com
                                    http://www.eusocial.com
                                  http://www.biohakc.com
                                http://www.ggttctttat.com/!
   n  r  .   5        !!!      http://steim.nl/leaves/petalz
*--*--*--*--*--*--*--*--*--*--*--*--*-- --*--*--*--*--*--*--