[...]sics of 3D)
the simulacrum / ideal / image ='lgc'>='lgc'>--> ="ppl">Plato
mystic ="trms">geometry ='lgc'>='lgc'>--> Pythagoras (='lgc'>='lgc'>--> mathematization of the real, real ‘is’ math)
='lgc'>}='lgc'>='lgc'>--> what does it mean to perform 3D for these two thinkers='qstn'>?

fire simulation in Maya ='lgc'><='lgc'>='lgc'>--> cotton touching fire in Islamic philosophy

(<)>  ='lgc'>='lgc'>-->='lgc'>{
() manifest image ='lgc'>='lgc'>--> shader/topology/raytracing
<> underlying (="trms">scientific='qstn'>?) image ='lgc'>='lgc'>--> C='lgc'>+='lgc'>+ / physics engine / object oriented programming

the mode of production in current 3D-biz creates a ="trms">sort of cultural collateral or collateral culture (term by ="ppl">Lazzarato). 3D practices are arising as series of activities, not recognized as “work,” rather involved in defining and fixing artistic/cultural standards, tastes, norms, and strategically public opinion.
“is this real or fake='qstn'>?” (you have to click)
='lgc'>='lgc'>--> when the productive mediation is smashed to pieces and replaced by this ="trms">question.
either it is ‘made’ or ‘real’
='lgc'>[structural imposibility, a double bind, ...='lgc'>]
='lgc'>}='lgc'>='lgc'>--> the image-warrior who violently asks us to choose between the visible and the invisible
( ='lgc'><-)='lgc'>--='qstn'>?='lgc'>--(='lgc'>-> )

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='thdf'>the notion of “general purpose toolkit”
synthesis, patches,
environment ='lgc'>='lgc'>--> media
="trms">interface ='lgc'>='lgc'>--> physical
="trms">dataflow programming, rapid prototyping, indeterministic machine paradigms,
one-dimensional array of values
telemetry (duri-sanj دوری سنج)

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an evange="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list builds a monument
softimage monument
virtual='qstn'>?



movement and stillness in houdini='qstn'>?
who the 3d software, as an ="trms">ontological device to recreate and study and understand being, is devided or made-up='qstn'>? the presebce of ='thdf'>the notion of movement in it and essence. what is movement and apparition='qstn'>?
='lgc'>[we can have a workshop that teaches houdini just through movement. or a non-movement approuch to 3D making.='lgc'>]


nonre="trms">presentational maya
="trms">epistemology and cognitive approuch to space and ="trms">matter

="trms">ontology of ="trms">matter in maya

="trms">worlding in autodesk industry (look at the trailers, tutorials, and so on.)
="trms">historical view='qstn'>?


i see maya and other 3D apps as visualization ="trms">technologies en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors by ="ppl">="ppl">Haraway and as ="trms">languages that actively ="trms">intertwine in the production of ="trms">literary value


friction, forms of masks (shaders='qstn'>?), and play, and the dance of Dis-tanz
the separations and partings
nearness


transforming and transformative ="trms">agencies

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“="trms">matter refers to the ="trms">materiality/="trms">materialization of ="trms">phenomena” (="ppl">="ppl">Barad)
="prgrph">-let's look at my 3D-related practices again and investigate their ="trms">ontological implications and rework how ="trms">matter is defined, ='lgc'>[="trms">matter, force, ="trms">interdependency, appearance,,, ="trms">phenomena, meaning,='lgc'>] ="ppl">Delanda-='lgc'>[intensification, ="trms">articulation, flow-of,='lgc'>]


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="large lg1" stl="font-size:119%">
='at'>#="frds scrmbld">Femke workshop='lgc'>: on ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging and skinning, ="trms">writing ="trms">stories cultivating creation and creatures before their enrollment in George Lucas film, speculating on the inorganic skeletal ="trms">animacies

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(Brey > ="ppl">="ppl">Ihde='lgc'>:) ='lgc'>[="trms">technology:='lgc'>] a special class of artifacts (='thdf'>for example telescopes, probes, hearing aids, etc) that are capable of engaging in ‘="trms">symbiotic’ ="trms">relationships with the human body. ='lgc'>[...='lgc'>] means through which the environment is experienced and acted on.


essential ambiguity of ="trms">technology / of ="trms">material human-="trms">technology ="trms">relations

hermeneutic fluency (and the special enigma) of the connection between text and ="trms">world

='strcls'>*="trms">bird's-eye='lgc'>=='qstn'>?/!='lgc'>~navigational='lgc'>='lgc'>~/='qstn'>?=.'='lgc'><-="trms">phenomenological
='lgc'>[...in front of the open (blank) page (of the ="trms">book) (we teach ="trms">children to take the) ="trms">position of the industria="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, the ="trms"nttrm="disturban">urban planner, or the ="ppl">Cartesian philosopher ='lgc'>='lgc'>--> outside the page is outside and inside the page is inside ='lgc'>]='at'>@="frds scrmbld">Eunkyung's scriptural enterprise ='lgc'>='lgc'>--> ="ppl">Derridean proper space of ="trms">writing
="prgrph">-the panopticon as observing ="trms">instrument for human ="trms">sciences is embeded in the page of the ="trms">book we open. part of this tradition ='lgc'>=/= first person shooter

(="ppl">="ppl">Ihde on) game-bodies='lgc'>: (on multistability ='lgc'>='lgc'>-->) ‘modes of navigation’ ='lgc'>[macro ="trms">phenomenological conditions, modeling observational possibilities, ='lgc'>]='lgc'>:
='lgc'>[1='lgc'>]- third person (pretended) overhead view looking down a map-like ="trms">world and plotting your course, one says “I go to X.” he calls it “the ="trms"nttrm="already,spread">reading ="trms">position” (usually a western navigator) ='lgc'>='lgc'>--> using ="trms">instrumental mediations to ="trms">translate this (overhead) ="trms">position, star patterns are with the north star
='lgc'>[2='lgc'>]- first person shooter, take your body as stable ="trms">position, one says='lgc'>: “X is coming to me.” (usually a south pacific navigator) ='lgc'>='lgc'>--> ="trms"nttrm="already,spread">reading ="trms">phenomena as ="trms">instruments, dynamic motion of star patterns are without the north star
='lgc'>[3='lgc'>]-



every major culture/civilization watches the ='strcls'>*movements of heaven='strcls'>*
="trms">technologies of temporality, lunar calendars (mostly migratory or non-agricultural people who were into smaller cycles) and solar calendars (people who were into lager cycles), knowl="trms"nttrm="knowledge,Knowledge">edge of repeated patterns of environmental ="trms">phenomena
from stonehenge ='lgc'>[= stabilizer of perception, ='at'>#stone telling the movement of heavens;='lgc'>] to chip (, devices to record cycles) ='lgc'>='lgc'>--> the ="trms">techno="trms">science has changed (="trms">phenomenologically merely) in scale
='lgc'>[='strcls'>*='lgc'>] ="trms">science is always ="trms">science-mediated-through-="trms">instrument ='lgc'>[='lgc'>='lgc'>--> regarding ="nms">ajayeb='lgc'>: ='at'>#model is the principal ="trms">instrument of (="trms">modern) ="trms">science.='lgc'>]='lgc'>-='lgc'>='lgc'>--> am I in which model-shift='qstn'>? (how='qstn'>? and why='qstn'>?)='lgc'>:
="lsts lst1">•idealized models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my “art"='lgc'>] (='lgc'>='lgc'><--)to='lgc'>='lgc'>--> heuristic models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="trms">lectures='lgc'>] ='qstn'>?
="lsts lst1">•computational models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="trms">CG period='lgc'>] (='lgc'>='lgc'><--)to='lgc'>='lgc'>--> ="trms">phenomenological models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="nms">ajayeb='lgc'>] ='qstn'>?
="lsts lst1">•fantasy models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ='qstn'>?='lgc'>] (='lgc'>='lgc'><--)to='lgc'>='lgc'>--> theoretical models ='qstn'>?
="lsts lst1">•re="trms">presentational models ='lgc'>[='lgc'>='lgc'>~= my images='qstn'>?='lgc'>] (='lgc'>='lgc'><--)to='lgc'>='lgc'>--> ="trms">epistemological models ='qstn'>?
='lgc'>[='strcls'>*='lgc'>]

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="large lg3" stl="font-size:110%">
like the blind man's cane or probe, means through which the environment is perceived and acted on, how is the 3D computer simulations an ="trms">embodiment ="trms">relation='qstn'>? what are the (dis)="trms">embodied habituations of the hacker='qstn'>? ='lgc'>==> philosophy of action ='lgc'>: how 3D work as an (dis)="trms">embodied artifact change our ="trms">relation to the ="trms">world='qstn'>? or, which ="trms">world is experienced as perceived through ="trms">embodied artifact of the 3D='qstn'>?
="lsts lst1">•re="trms">presentations of the location
="lsts lst1">•="trms">question of orientation
='lgc'>='lgc'>--> ="trms">epistemological studies of ="trms">scientific ="trms">instrumentation

(="ppl">Feenberg, passivity missing in ="ppl">="ppl">Ihde)
(my own ="trms">interest in shyness and the) passive dimensions of body='lgc'>--lived experience of being the object of action='strcls'>***

="ppl">Feenberg (reflecting on medical ="trms">situations forward='lgc'>:) we live our body not only as actors in the ="trms">world, but also as beings who invite action on our bodies by others
dependent body ='lgc'>='lgc'>--> highly ="trms">technologized experience

="large lg4" stl="font-size:112%"> ="trms">instrumentalized status of ="trms">modernism, in which the ‘dependent body’ belongs to ="trms">childhood
purified “humans” ='lgc'>: the subject distinguished from its ="trms">instrumentalities

sex='lgc'>: construction of the dependent subjectivized bodies
(="ppl">Sartre ='and'>& ="ppl">Merleau-Ponty='lgc'>:) person becomes a thing in the ="trms">world of the other

lived-body ='lgc'>=/= body ='lgc'>[='lgc'>='lgc'>--> also the concern of ="ppl">I="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigaray and ="ppl">Butler='lgc'>]
(this is ="ppl">Husserl's Körper and Leib)
='lgc'>~ machine-infused ="trms">neuro-physical body
="lsts lst2">◦kin="trms">aesthetic sensations
="lsts lst2">◦="trms">presentational sensations
="lsts lst2">◦“="trms">internal” perception
="lsts lst2">◦“subject” -body
="lsts lst2">◦organ of perception / organ of action /
='lgc'>='lgc'>--> (identity of the ego ='lgc'>='lgc'>-->) the (existentia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list visua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list and strange) idea of='lgc'>: “I am my body"='lgc'>--body in terms of “I can” ='lgc'>==> self-movement
(="trms">intra-action ='lgc'>=/= that sensations are freestanding complexes and ="trms">internally ="trms">differentiated entities that can be identified and studied “before” the action)
='strcls'>*perception (is an act='lgc'>:) “animating” the ="trms">data of sensation (='qstn'>?)

the extended body signifies itself through ='lgc'>[='lgc'>=/= acts through='lgc'>] the ="trms">technical mediation

the impersonal and atomizing (commonplace) as="trms">sociations with ='thdf'>the notion of dis="trms">embodiment ='lgc'>='lgc'>--> ='thdf'>the idea that in online involvement ="trms">relations are abridged and trivialized, that there is a lack of commitment and risk, and moral engagement is impossible, and so on.

="large lg5" stl="font-size:162%"> ='strcls'>*what would be a ="trms">situated account of the (lived-)body in ="trms">CG='qstn'>?

“the ringing of the cell phone that embarrasses us in the middle of a ="trms">lecture” ='lgc'>='lgc'>--> extended body

plasticity and poly="trms">morphism of our bodies (online) ='lgc'>[="ppl">="ppl">Ihde='lgc'>]

programmers working in other programmers’ works (='lgc'>--not ="trms">imaginative engagement with the other, rather) ='lgc'>--through='lgc'>='lgc'>--> ="trms">interfaces and ="trms">folds in inte[...]