[...]="lsts lst1">•Islam ='lgc'>='lgc'>--> hejab

(Tasavof='lgc'>='lgc'>-->='lgc'>{for which the body does not remain concrete and ="trms">material, and soul is ambiguous and poly="trms">morphic='lgc'>}, Pythagorean='lgc'>:) veli='lgc'>: soul can clothe itself in ="trms">different bodies ='lgc'>=/= (="ppl">Aristotle='lgc'>:) soul is the form of a particular living body ='lgc'>{ soul='lgc'> = organization of the body ='lgc'>}='lgc'>='lgc'>--> “..there seems to be no case in which the soul can act or be acted on without involving the body” ='lgc'>=/= (="ppl">Descartes='lgc'>:) soul='lgc'> = enlightened machine (='lgc'>~=='qstn'>? proper organization of the brain)


='strcls'>***The body is a special image ='lgc'>='lgc'>--> ="nms">body image

body, the priveleged image, the ="trms">world of consiousness (through self-reference), the brain's primary frame of reference ='lgc'>[-constructed with libidinal intensity='qstn'>? ='lgc'>='lgc'>--> a map of ="trms">narcissistic investment='lgc'>] (='lgc'>=/= body without organs)
="lsts lst1">•condition of the subject's access to spatiality (of the ='lgc'>[numero-computationally='qstn'>?='lgc'>] built environment)
="lsts lst1">•anatomy is always “="trms">imaginary anatomy”
="lsts lst1">•the (body-)ego is a formation of ="nms">body image through primary ="trms">narcissim (in terms of Oedipus complex)
="lsts lst1">•="nms">body image also incorporate external objects (implements and ="trms">instruments ='lgc'>='lgc'>--> intimate, vital, even libidinally cathected parts of the body) ='lgc'>~='lgc'>='lgc'>--> the “detachable” parts of the body='lgc'>: urine, faeces, saliva, sperm, blood, vomit, hair, nails, skin='lgc'>--all retain something of the cathexis and value of a body

="prgrph">-for ="ppl">Bergson='lgc'>: an image that one know from within by ="trms">affections, rather than from without by perceptions='lgc'>: body ='lgc'>}='lgc'>='lgc'>==> “my body” is the center of actions ='lgc'>==births='lgc'>='lgc'>==> re="trms">presentation
="prgrph">-for ="ppl">Whitehead='lgc'>: “self-knowl="trms"nttrm="knowledge,Knowledge">edge of our bodily event” ='lgc'>='lgc'>==> (organic) conception of ="trms">nature
="prgrph">-masculinity='lgc'>: body subordinate to the mind ='lgc'>='lgc'>~=>='lgc'>{ body='lgc'>: site for feminist critique
="prgrph">-for contemporary feminism (="ppl">Grosz)='lgc'>: body is neither a biological nor a ="trms">sociological ="trms">category, but rather a point of overlap between physical, ="trms">symbolic, and ="trms">material conditions

the ideological re="trms">presentations of a “real” precultural body
='lgc'>[='lgc'>='lgc'>--> idealized in terms of abstract ="trms">geometry, rendered primal in primates,,,='lgc'>]

="large lg2" stl="font-size:112%"> “The theory of the body is al="trms"nttrm="already,spread">ready a theory of perception.” ="ppl">Merleau-Ponty

(in his studies on body, ="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert quotes John Schumacher quoting) James ="ppl">="ppl">Gibson='lgc'>: “The optical information to specify the self, in="trms"nttrm="cluster,club">cluding the head, body, arms, and hands, accompanies the optical information to specify the environment. The two sources of information coexist. The one could not exist without the other. When a man sees the ="trms">world, he sees his nose at the same time; or rather, the ="trms">world and his nose are both ="trms">specified and his awareness can shift....The ="trms">supposedly separate realms of the subjective and objective are actually only poles of attention.” (The ="trms">Ecological Approach to Visual Perception)


="trms">sensuality is co-making


rituals and ="trms">technologies are links between bodies and ="trms">societies
(="trms">social) ="trms">techniques for the inscription of locality into bodies
="trms">technology as an exteriorization of the functions of the body='qstn'>?

="trms">CG stands for='lgc'>:
="lsts lst1">•computer graphics
="lsts lst1">•computer games
="lsts lst1">•creature generator
="lsts lst1">•="trms">categorial grammar ='lgc'>='lgc'>--> “='lgc'>='lgc'>==>”, “='lgc'>=/=”, etc
="lsts lst1">•conceptual graphs ='lgc'>='lgc'>--> graph-based knowl="trms"nttrm="knowledge,Knowledge">edge re="trms">presentation and reasoning model
="lsts lst1">•computational ="trms">geometry ='lgc'>='lgc'>--> geo-info-="trms">sys design
="lsts lst1">•='strcls'>*computational ="trms">gesture='strcls'>* ='lgc'>='lgc'>--> extracorporeal ="trms">material culture
="lsts lst1">•
="lsts lst1">•(complete governance, chaotic God, commanding general, common ground, center of gravity,)
="lsts lst1">•

="large lg10" stl="font-size:131%"> the well-="trms">="trms">equipped invalid (='lgc'>='lgc'>--> ="trms">embodiment, ="ppl">Virilio)

(="ppl">="ppl">Foucault's radical exploration of='lgc'>:) body='lgc'> = (subject to the effects of) ="trms">rhetoric of ="trms">technical reason
="trms">techniques of punishment (, a “political ="trms">technology”) ='lgc'>: “an art of unbearable sensations” ='lgc'>--to='lgc'>='lgc'>--> “an economy of suspended ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights”

="ppl">Deleuze and ="ppl">Guattari='lgc'>: “We know nothing about a body until we know what it can do, in other words, what its ="trms">affects are, how they can or cannot enter into com="trms">position with other ="trms">affects, with the ="trms">affects of another body...” (what are the ="trms">affects of the ="trms">CG bodies='qstn'>?)
="prgrph">-for them the “body” is a discontinuous and non-totalized series of processes, organs, flows, energies, corporeal substances and incorporeal events, intensities and durations, a surface of intensities='lgc'>: ='strcls'>*pure simulacra without o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginals='strcls'>*


="trms">erotogenic zones, sexuality, ="ppl">Freud, auto-="trms">erotic ="trms">internalization, clinamen

(the formally female cyborg / ="trms">techno-="trms">monster of the Ghost in the Shell='lgc'>:) the (masculinist) fantasy of leaving the body behind and reconstituting it as a a ="trms">technical object under human control as both a desire for perfect knowl="trms"nttrm="knowledge,Knowledge">edge and total power and at the same time as a way of escape... ='lgc'>[="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert='lgc'>] ='at'>#="ppl">="ppl">Haraway
="lsts lst1">•the ="trms">question of the “soul” is ="trms"nttrm="already,spread">read as the ="trms">question of (certain ="trms">technology of) power over bodiess

(traits of) cyborg='lgc'>:
="lstsrd">1. boundary transgression
="lstsrd">2. the recognition and re-scripting of myth
="lstsrd">3. simulations of identity
="lstsrd">4. coalitions of af="trms">finity


="large lg14" stl="font-size:122%"> re="trms">embodiment of intelligence


="ppl">Hubert > ="ppl">Serres='lgc'>: “My body (I cannot help it) is not plunged into a single, ="trms">specified space. It works in ="ppl">Euclidean space, but it only works there. It sees in a projective space; it touches, caresses, and feels in a topological space; it suffers in another; hears and ="trms">communicates in a third; and so forth, as far as one wishes to go. ="ppl">Euclidean space was chosen in our work-oriented cultures because it is the space of work='lgc'>--of the mason, the surveyor, or the architect. ='lgc'>[...='lgc'>] My body lives in as many spaces as the ="trms">society, the group, or the collectivity have formed='lgc'>: the ="ppl">Euclidean house, the street and its ="trms">network, the open and closed garden, the church or the enclosed spaces of the sacred, the school and its spatial varieties containing fixed points, and the complex ensemble of flow-charts, those of ="trms">language, of the factory, of the family, of the political party, and so forth. Consequently my body is not plunged into one space but into the ="trms">intersection or the junctions of this multiplicity.” (Hermes, pp 44-45) (='at'>@="frds scrmbld">Aela)

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(feminist open-source ='lgc'>--='not'>✕='lgc'>='lgc'>-->='qstn'>?) I am actually coming from a masculinist closed-source culture-thing, that is to say, my background is in masculinist black-boxed concepts of being and beyond, that means i have a ="trms">different ="trms">relationship with ="trms">interference and parasitism
="lsts lst1">•how and when a concept becomes black-boxed='qstn'>? by which processes='qstn'>?
='at'>@="frds scrmbld">Sven='lgc'>: what ="trms">matters is the input/output, stimulus/="trms">response ='lgc'>[='lgc'>='lgc'>--> “black-box of the beyond” (='at'>#zolmat ="trms">writing)='lgc'>] ='lgc'>='lgc'>--> transfer characteristics, ="trms">data-flow, the ="trms">ontology of the “="trms">internal working” ='lgc'>: “open” exchanges inforamtion about its ="trms">interactions ='lgc'>}='lgc'>='lgc'>--> open-source is part of the tradition of ="trms">anthropo="trms">cene ="trms">system thinking='lgc'>: ="trms">network synthesis, ="trms">system engineering, theory of the organism, evolutionary theory, thermodynamics, and ="trms">world ="trms">system perspective

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what are the nodes of energy in ="trms">interdigitalities ="trms">intra-actions in human-machine ="trms">relations='qstn'>?

='strcls'>***we are belonging to a set of cultures that regularly believes in the idiom of='lgc'>: organism ='lgc'>=/= ="trms">technology
='lgc'>='lgc'>--> this little ="trms">ontological dichotomous device is doing ="trms">serious ="trms">worldings, making and destroying ="trms">worlds

="trms">technologies of descriptive practices
="trms">technology is descriptive practice
="trms">technology='lgc'>: anything describable as a ="trms">technology ='lgc'>='lgc'>--> idiom اصطلاح

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='lgc'>[title='lgc'>]
age of stone, and ="trms">stories for computers

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="large lg1" stl="font-size:112%"> (='at'>#workshop in Stuttgart 11.04.2017 with ="frds scrmbld">Femke http://pad.constantvzw.org/p/possiblebodies.="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging)
provisional sketch for a workshop on “="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging,” notes and nodes


on the notion and practice of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig in ="trms">CG
(="trms">CG as in “computational ="trms">gesture”)

='lgc'>[title='lgc'>]
on ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging and skinning='lgc'>: ="trms">stories for cultivating creation and creatures of the industrial empire.
a practice in='lgc'>: ="trms">rhetoric of ="trms">technical reasoning in inorganic skeletal ="trms">animacies.


="lsts lst1">•I begin with the ="trms">position that believes in the essential ambiguity of ="trms">technology
="lsts lst1">•let's look at some terms and notions and the ways they are enacted, practiced, and ="trms">embodied, and to practice some hermeneutic fluency in ="trms">phenomenological conditions in what we call character animation


KEYWORDS='lgc'>: soft bodies, skin, skinnig, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging, unwrapping, ="trms">fold, ="trms">CG, animation, locomotion, kinectics, skeleton, mechanics, ="trms">interface, ="trms">technology,


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="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are about='lgc'>:
="prgrph">-ways of arranging space, time and ="trms">matter ='lgc'>: like a sentence, that sticks words sequentially together in a certain way. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig would be a way those elements are attached to one another in time and space.
='lgc'>[='strcls'>*='lgc'>] ='lgc'>='lgc'>--> one-dimenisional skeletal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are generally ="trms">intereseting for ='mywrk'>my research, because of the ="trms">specific sequential order that many forms of culture take. (for example, “tradition” is from that famility of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, a string of things in a particular order and not another. ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to totem columns='lgc'>]. “="trms">language” is another one.)
="lsts lst2">◦what are the degrees of flexibilty, stretch and tention between the nodes in a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>?
="lsts lst2">◦what a substitution in a string-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig might change the ways that being is animated, and therefore change the meaning='qstn'>?
="prgrph">-that means='lgc'>: change the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, and you will change the ways space and time are arranged
="prgrph">-that means='lgc'>: thinking about ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs is like thinking about the ="trms">language, or better='lgc'>: ="trms">ontological commitments embedded in ="trms">language. and since we are ="trms">interested in ="trms">materiality ='lgc'>[that means='lgc'>: ="trms">material human-="trms">technology ="trms">relations='lgc'>], i would ask='lgc'>: what are the ="trms">material objects that this ="trms">language commits us to='qstn'>? to be more exact='lgc'>: what are the ="trms">material objects that the ="trms">language-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig commits the ="trms">CG-hacker to='qstn'>?
="prgrph">-="trms">ontological assumptions embeded in any “device” (English grammar, ="trms">CG ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, architect's tools, a de="trms">finition in ="trms">language, etc.)
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are clever ="trms">technological provisional constructions, (always) setup for a ="trms">specific ="trms">naturalization.
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs ="trms">articulate ="trms">animacies, that is to say='lgc'>: they are almost ="trms">linguistic structures that shape or determine our animations
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs do consequential work
="prgrph">-how elements are arranged together, how they are ="trms">composed, how they are brought into ="trms">relation in the space of a field, ="trms">narrative, text, environment, etc

whenever you give a de="trms">finition (a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, a concept) and work with it, and find yourself committed to certain findings, tracings and meanings because of that='lgc'>: you are working with a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig. that is to say='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are de="trms">finitional structures, not arguments themselves, but their conditions.
then the ="trms">question would be='lgc'>: when do you know that it is time to dismantle a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>? how to recognize, learn to reuse or repurpose old ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs='qstn'>?

in ="trms">CG the business of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging and ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making is handed to the engineering talent and point of view, it has made a pure ="trms">technical problem.



skeletal, it's all about the ‘arm’
http://www.toxik.sk/img/maya2011_ya.jpg
an arm is a spaciotemporal particularity
the organisms that ="trms">crafted in their bodies the subphylum vertebrata, a terrestrial ="trms">technology for moving the flesh.
the images we make are made in the image of the one-with-arms

mechanical
bipedal
facial
quadrupedal
many arms and legs
spinal
surficial
hair
feather

rain ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by محمد عبدالله
eqFUnFPcuwg

="large lg14" stl="font-size:123%"> an Optimus Prime transformation ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by Eske Yoshinob
VDrAzeNS2pk='qstn'>?t=28

(strictly) possible tranformational arrangements

how a being is ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged into transformational particularities
in this sense, the ="trms">question of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is ="trms">ontoloical, specially in a ="trms">world populated by devices and ="trms">techniques, ="trms">interfaces and ="trms">folds upon ="trms">folds, constructions that do things for another constructions, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that ="trms">translate

kinematic equations, inverse kinematics, the math of it is called the Jacobian inverse ="trms">technique
https://upload.wikimedia.org/wikipedia/commons/7/76/Arc-welding.jpg
https://upload.wikimedia.org/wikipedia/commons/2/2c/Modele_cinematique_corps_humain.svg
“In robotics, inverse kinematics makes use of the kinematics equations to determine the joint parameters that provide a desired ="trms">position for each of the robot's end-effectors. ="trms">Specification of the movement of a robot so that its end-effectors achieve the desired tasks is known as motion planning.”
https://en.wikipedia.org/wiki/Inverse_kinematics
='lgc'>{\frac  ='lgc'>{\partial p_='lgc'>{i='lgc'>}='lgc'>}='lgc'>{\partial x_='lgc'>{k='lgc'>}='lgc'>}='lgc'>}\approx ='lgc'>{\frac  ='lgc'>{p_='lgc'>{i='lgc'>}(x_='lgc'>{='lgc'>{0,k='lgc'>}='lgc'>}='lgc'>+h)-p_='lgc'>{i='lgc'>}(x_='lgc'>{0='lgc'>})='lgc'>}='lgc'>{h='lgc'>}='lgc'>}

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Maya's ="trms">interfacial iconograhies

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how do we animate quadrupeds, invertebrates, phyla, rotifera (wheel-="trms">animals), and so on; for each a mathematics must be invented in order and terms of digital computationality.

“anatomy” is always “="trms">imaginary anatomy” (in ="trms">CG, comtemporary dance, medicine, ="trms">love, etc.)



a skin has to deal with='lgc'>:
“Global Stiffness Structural Optimization”



="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig talks to mesh, telling it how to move, how to be.
how we evolved from jelly to skelletal='qstn'>? something tense, intensified in space, some flesh attached to it. how the concrete mineral came back to assert itself in the terms of bones of the organism='qstn'>?
(a mesh is a matrix of points in which the neighboring points only ="trms">matter to eachother. mesh is the result of the study of topology in mathematical notions of space and structure, with ="trms">demands of an industry ="trms">interested in the re="trms">presentation of surface. mesh is ="trms">interested by creatures that have a skin, and have stakes in tactility='qstn'>?)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is that constructed logic or grammar that allows mesh deformation in one way and not another. made of en="trms">folded layers of ="trms">code and constraint


="trms">story of the bone
the flow of ="trms">matter and energy, flow of intensification between ="trms">sortal processes, organisms, and minerals.

="large lg10" stl="font-size:103%">
this is about how ="trms">matter is defined, in everyday ="trms">CG work


how certain kinetic skeletal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms">naturalize the ="trms">relationships between volume and surface and skeleton ='lgc'>='lgc'>--> which is always ="trms">symbolic

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notes by other participants of the workshop='lgc'>:
http://pad.constantvzw.org/p/possiblebodies.sina.workshop

some post-workshop notes='lgc'>:

="trms">questions of='lgc'>:
="lsts lst1">•="trms">causality='lgc'>: how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-thinking can help to have a better understanding of ="trms">causal ="trms">relationships between the ‘moved’ and ‘mover’='qstn'>?
="lsts lst1">•control='lgc'>: how can we have a more ="trms">interesting ="trms">ontology of constraints that allows more ="trms">interesting ="trms">articulations of control='lgc'>='lgc'>---(that one-way flow of influence between the soft and the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid)='qstn'>?
="lsts lst1">•process and becoming='lgc'>: how the ="trms">technological ="trms">nature of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig and its ="trms">relations with the image of the organism in ="trms">CG can be ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged for a ="trms">different ="trms">articulation of the lived-body='qstn'>? and to which extend the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig can be helpfull to think about the becoming of the beings-of-the-="trms">CG (that means='lgc'>: hacker ='lgc'>+ 3D model)='qstn'>?
="lsts lst1">•identity='lgc'>: How within an industry such as Pixar, deeply invested in what is a feeling and ="trms">affectious living characher, a whole new set of ="trms">technologies and ="trms">ontologies must be made and destroyed, learned and unlearned, for a ="trms">different ="trms">question of identity='lgc'>: what is a living thing='qstn'>? how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig ="trms">matter in a ="trms">world that is made of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that make ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs for beings to ="trms">articulate themselves in, through, and with them='qstn'>? inventing and being invented by them
="lsts lst1">•model='lgc'>: animation='lgc'> = life; asking what brings us to life, makes us alive='qstn'>? (what we animate and what animates us)
="lsts lst1">•="trms"nttrm="already,spread">reading and space of the text='lgc'>: the practice we did with pop-up-="trms">book making, a joint page of a ="trms">book when opened wide, the meaning and influence of the ="trms"nttrm="already,spread">reading animates itself like a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, coming into movement, flow and inflow as the result of the muscular skeletal ="trms">gesture of a “="trms"nttrm="already,spread">reader” who has two hands='lgc'>: mechanical ="trms">animacies of the act of ="trms"nttrm="already,spread">reading set in time and space by the “="trms">writer”
="lsts lst1">•which ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs='qstn'>? (with ="ppl">Strathernian ="trms">rhetorics) ='lgc'>='lgc'>='lgc'>---- ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making practices are ="trms">ontological ="trms">technological choreographies that (in the case of ="trms">CG) make mesh ="trms">matter='strcls'>*='lgc'>='lgc'>='lgc'>='lgc'>-----they are involved in ‘making mesh flesh’


='lgc'>[14.05.2017='lgc'>]

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="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>: a higher-level description of the motion of the part (of mesh) it is influencing (='lgc'>='lgc'>--> set of “bones” may not be hierarchical or ="trms">interconnected)
='lgc'>[a='lgc'>] simplified user ="trms">interface allowing animators to control often complex algorithms and a huge amount of ="trms">geometry ='lgc'>='lgc'>--> control the deformation of the mesh ="trms">data (='lgc'>=/= imitate real anatomy or physical processes)

="trms">modern ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'> = hacking (in 3D softwares)

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Disney ='lgc'>='lgc'>--> body-ege='lgc'>: feeling good about oneself

="large lg3" stl="font-size:110%"> (via) the playful mastery over ="trms">anthropo="trms">morphized machines


(="ppl">Rickels > Hanns Sachs='lgc'>:) the last time machines were used for play and not work was during the time of the ="trms">Greeks and Romans ='lgc'>: culture's value of the human body ='lgc'>='lgc'>==> machine used for amusement

='strcls'>**="trms">narcissistic investment (of ="trms">interest) in the body protects against sub="trms">mission to the machine='strcls'>** ='lgc'>='lgc'>--> conceived no longer as plaything but as his own prosthetic extension

="large lg4" stl="font-size:110%"> movement of fantasmatization

to fantasize aggression='lgc'> = to turn it around upon on[...]