[...] ='lgc'>=/= negation (denial) ='lgc'>=/= repudiation (foreclosure ='lgc'>='lgc'>--> psychosis)
negation='lgc'>: a provisional lifting of repression (not through acceptance, the repressed contents are ="trms">verbally and ="trms">affectively negated) ='lgc'>='lgc'>--> affirmation='lgc'>: the process of registering or fixing a drive to an ideational content (signifying the former by the latter), both the condition of signification and of repression
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="ppl">Grosz on ="ppl">Deleuze and ="ppl">Guattari
problem with “becoming woman”
the process of becoming-X ='lgc'>[marginal, woman, non-western, etc.='lgc'>] means nothing as a strategy if one is al="trms"nttrm="already,spread">ready X ='lgc'>=/= ="trms">question of ="trms">difference, ="trms">specificity
='strcls'>*desire
='strcls'>*machinic functions
='strcls'>*assemblages
='strcls'>*rhizomatics
='strcls'>*cartography
='strcls'>*intensities
='strcls'>*speed
='strcls'>*planes
appropriation (recuperation) of the ="trms">positions and struggles of X ='lgc'>==risks='lgc'>='lgc'>==> depoliticizing ="trms">aestheticizing struggles and political challenges crucial to the survival and self-de="trms">finition of X
problem with becoming
(="ppl">Deleuze and ="ppl">Guattari are invested in a) romantic elevation of models of psychosis, ="trms">schizophrenia, and madness ='lgc'>='lgc'>==>
="lsts lst1">•ignore the very real pain and torment of individuals
="lsts lst1">•raise pathology to an unlivable, unviable ideal for others
our reservations and suspicions (in ="nms">apass when we face each other)
="ppl">Deleuzian rhizomatics ='and'>& feminist theory ='lgc'>='lgc'>--> reversal of ="ppl">Platonism='lgc'>: “ideal ='lgc'>=/= real” (op="trms">position ="trms">integral to Western thought)
rhizomatics, cartography, ="trms">schizoanalysis (deconstruction, grammatology) ='lgc'>='lgc'>==> clear the ground of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical concepts ='lgc'>='lgc'>==> (others) may be able to devise their own knowl="trms"nttrm="knowledge,Knowledge">edges
four “illusions” of re="trms">presentation='lgc'>:
="lsts lst1">•identity
="lsts lst1">•op="trms">position
="lsts lst1">•analogy
="lsts lst1">•resemblance
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> becoming (beyond the logic and confines of being)
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> multiplicity ='lgc'>[defined by the outside='lgc'>] (beyond doubling or multicentering of proliferating subjects)
="ppl">Deleuzian-="ppl">Foucauldian understanding of politics theorizes in a clearer and more direct form than ='strcls'>*rival (alternative) political philosophies='strcls'>* (in="trms"nttrm="cluster,club">cluding ="ppl">Marxism, ="trms">socialism, liberalism, and anarchism), the kinds of theoretical and political struggles in which feminists are involved
='lgc'>[='strcls'>*='lgc'>]body='lgc'>: a discontinuous, n="trms">ontotalized series of processes, organs, flows, energies, corporeal substances and events, intensities, and durations ='lgc'>--link='lgc'>='lgc'>--> organs ='lgc'>+ biological processes ='lgc'>+ ="trms">material objects ='lgc'>+ ="trms">social practices
='lgc'>[Spinoza's rare affirmative understanding of='lgc'>] body='lgc'>: (is analyzed and assessed more) in terms of ='strcls'>*what it can do='strcls'>*, the things it can perform, the linkages it establishes, the transformations it undergoes, the machinic connections it forms with other bodies (='lgc'>=/= a locus for a conscious subject, as an organically determined object, by their genus and ="trms">species, by their organs and functions)
from ="ppl">Plato to ="ppl">Lacan ='lgc'>='lgc'>--> desire='lgc'>: negative, ="trms">abyssal, a lack at the level of ="trms">ontology itself (an effect of frustration) ='lgc'>[desire is frustrated by the real='lgc'>]
='lgc'>=/= Spinoza ="ppl">Nietzsche ="ppl">Deleuze ='lgc'>='lgc'>--> desire='lgc'>: immanent, ="trms">positive and productive, ='strcls'>***desire is a ="trms">relation of effectuation, not of satisfaction='strcls'>*** ='lgc'>[desire is productive of reality='lgc'>] ='lgc'>='lgc'>--> aleatory, bricolage
Spinoza's ethics='lgc'>: capacity for action and passion, increase or decrease one's capacities and strengths ='lgc'><='lgc'>-- good ='and'>& bad
='lgc'>=/= ="ppl">Levinasian ethics (modeled on a subject-to-subject, self-to-other ="trms">relation)
(psychoanalysis) ='strcls'>*partial objects='lgc'>: organs, processes, and flows, which show no respect for the autonomy of the subject='strcls'>*
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(="ppl">="ppl">="trms"nttrm="search">Archer > Saint Lauren='lgc'>:) “="trms">fashion fades, style is eternal"='lgc'> = 'notions of style ='lgc'><='lgc'>='lgc'>--> notions of ="trms">history’ =='lgc'>{"to have style"='lgc'> = to have the means of inserting oneself into ="trms">history / “to lack style"='lgc'> = to risk oblivion='lgc'>}
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="ppl">="ppl">="trms"nttrm="search">Archer ='lgc'>='lgc'>--> how critical considerations of style can offer opportunities to think across sets of subjectivities and cultural practices that are often disas="trms">sociated or pitted against one another
="trms">erotic stylization of deadly force ='lgc'>--(="ppl">="ppl">="trms"nttrm="search">Archer asks)='lgc'>='lgc'>--> why is it stylish for one to be attracted to the kind of power that “the uniform” signifies='qstn'>?
how styles (sartorial, campy, grotesque) serve as a ="trms">serious index of our collective complicity in the ongoing production of state violence='qstn'>?
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="ppl">Chen on ="trms">animacy
="trms">animacy ='lgc'>='lgc'>--> how ="trms">matter that is considered insensate, immobile, deathly (or otherwise “wrong”) animates cultural life in important ways
='lgc'>[='strcls'>*='lgc'>]="trms">animacy='lgc'>: a quality of ="trms">agency, awareness, mobility, liveness
='lgc'>--="trms">linguistics='lgc'>='lgc'>--> grammatical effects of the sentience or liveness of nouns
change of ="trms">animacy ='lgc'>='lgc'>==> violates a cross-="trms">linguistic preference among speakers
(for example “the hikers that rocks crush” ='lgc'>='lgc'>--> rock='lgc'>: the source of ="trms">causality)
="trms">animacy
filled with life, disposed, inclined, animare to breathe, to quicken
anima, air, breath, life, soul, mind (mental impulse)
='lgc'>--connected='lgc'>='lgc'>--> ="trms">animals
animosity ='lgc'>='lgc'>--> animating spirit or temper of a hostile character
animating principle ='lgc'>[='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'>]
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="ppl">="ppl">Ihde='lgc'>: playing a musical ="trms">instrument (= a ="trms">technological mediation) ='lgc'>=/= the process of genetic manipulation
='lgc'>=/= ="ppl">Heidegger's ="trms">technology='lgc'>: a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysically totalizing context (='lgc'><='lgc'>-- every ="trms">technology ended up with exactly the same output or analysis)
="ppl">="ppl">Ihde ='lgc'>=/= utopian ='and'>& dystopian views of ="trms">technology
...to understand yourself to be thinking and acting ‘in the midst of’ the ="trms">pervasive ="trms">techno="trms">scientific character of life (='at'>@="trms">CG hacker)
="ppl">="ppl">Ihde ='lgc'>='lgc'>--> ='strcls'>***="trms">technologies and humans constitute themselves ="trms">interactively='strcls'>***
='strcls'>*="trms">technological mediation='lgc'>: heterogeneous ="trms">relationships between individual human beings and the ="trms">world ='lgc'>+ artifacts used for mediations ='lgc'>=/= ideals of efficiency and clear ="trms">communication
“breakdown ='lgc'>='lgc'>==> new ="trms">gestalt” ='lgc'>: something that had usually taken for granted, which then under breakdown conditions, now gets revealed in a new way (revelatory function)
='lgc'>=/= ="ppl">="ppl">Ihde's ='strcls'>*variational practice='strcls'>* ='lgc'>: variations ='lgc'>==forefront='lgc'>='lgc'>==> new ="trms">gestalts
(our) ="trms">world='lgc'> = powerful effective ='and'>& failing ="trms">technology
we ='lgc'>=/= tragic hero (='lgc'>+ broken hammer) or Enlightenment ="trms">scientist (='lgc'>+ laboratory)
matrix ='lgc'>='lgc'>--> female
those that move in the matrix ='lgc'>='lgc'>--> formative male principle
(="ppl">="ppl">Foucault's) ="trms">episteme='lgc'>: ="trms">social-moral-="trms">religious stability
="ppl">="ppl">Latour
="trms">modernity ='lgc'><='lgc'>== settlement='lgc'>: (a clear and sharp distinction) ="trms">society ='lgc'>=/= ="trms">nature ='lgc'>--obscure='lgc'>='lgc'>--> the proliferation of hybrids='lgc'>: entities that are both cultural ='and'>& ="trms">natural (for example ="trms">material ="trms">technologies are both “real” ='and'>& “constructed”)
="ppl">="ppl">Ihde ='lgc'>='lgc'>--> ="trms">technologies are in ='strcls'>*mediating ="trms">positions='strcls'>*
="trms">inter="trms">relational relativistic ="trms">ontologies ='lgc'>: there is ="trms">interaction and ="trms">mutual “non-neutral” and “noninnocent” productive and emergent shaping between humans ='lgc'>+ ="trms">technologies ='lgc'>+ ="trms">animals ='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge is “="trms">situated” and particular, not “transcendentally” true ='lgc'>='lgc'>==> putative ="trms">symmetry between the human ='and'>& nonhuman
bestiality (="trms">inter="trms">relational, sin='qstn'>?) is embedded in what has to appear to us today as an antiquated or surpassed stability
="lsts lst1">•(="ppl">Merleau-Ponty ='lgc'>+ ="ppl">="ppl">Ihde) ="trms">embodiment is the location of all intelligent behavior ='lgc'>[="trms">situated ='lgc'>+ ="trms">embodied='lgc'>]
="lsts lst1">•(Pickering) cybernetic (self-organizing set) is the location of all intelligent behavior ='lgc'>[="trms">situated='lgc'>]
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Galison's Einstein
(the old notion that) ='strcls'>***="trms">phenomenology is primarily descriptive ='lgc'>=/= prescriptive
='lgc'>[ethicalization of knowl="trms"nttrm="knowledge,Knowledge">edge, in ="nms">Iran, in artists ="trms"nttrm="already,spread">reading choices based on gender, etc. turning research into applied ethics='lgc'>]
="lsts lst1">•contemporary ethics of a ="trms">cosmopolitan p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luricultural tolerant ="trms">sort
="lsts lst1">•absolutisms of politically incarnated groups had to transform absolute beliefs into “private” ones (taken off the streets and battlegrounds) ='lgc'><='lgc'>--now='lgc'>-- returning!
='strcls'>****="trms">technologies are multistable='lgc'>: having unpre="trms">dictable side-effects and embeddable in ="trms">different ways in ="trms">different cultures='strcls'>****
='lgc'>[="trms">technology ='lgc'>+ ="trms">embodied ='lgc'>='lgc'>-->='lgc'>] abstract philosophical reflects ='lgc'>+ mundane work practices
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to incarnate a ="trms">material ="trms">agency-ethic ='lgc'>='lgc'>--> are also multistable='lgc'>: can belong to any number of contexts
...to recognizes that X plays an important role in defining Y-ic meaning
="ppl">Merleau-Ponty's implicit body is a ="trms">sort of sports body (active and transparent in action) ='lgc'>--Iris='lgc'>='lgc'>--> fringe awareness of wearing glasses in sports activities
visualization of ="nms">phantom limbs
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hermeneutic-cultural body
="trms">embodiment through ="trms">technologies
Andy Clark ="trms">Natural Born Cyborgs
echnology of tele="trms">presence
the ="trms">measurement of time ='lgc'>='lgc'>==> changes in human existence
='thdf'>the idea of ='strcls'>*="trms">science='lgc'> = ="trms">intervention ='lgc'>+ grasping='strcls'>*
="lsts lst1">•grasping ='lgc'>='lgc'>==> active dimension of acquiring knowl="trms"nttrm="knowledge,Knowledge">edge is a genuinely contstructive activity (='lgc'>=/= a re="trms">presentational task of trying to re="trms">present external structures)
='lgc'>='lgc'>--> experiment ='and'>& ="trms">instruments (='lgc'>='lgc'>==> how theoretical entities come to be proven as real)
="lsts lst2">◦experimental-manipulative realism (Hacking)
="lsts lst2">◦mode="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic constructive realism (Giere)
="lsts lst2">◦="trms">instrumental realism (="ppl">="ppl">Ihde)
='lgc'>[='strcls'>*='lgc'>]performance='lgc'>: conception ='lgc'>+ production ='lgc'>+ witnessing of ="trms">material events, the experience of which is meaning generating in that these events give us back more than what we put into them
(Crease > ="ppl">="ppl">Ihde)
experimentation need to be both='lgc'>:
="lsts lst1">•='lgc'>[='strcls'>*='lgc'>]hermeneutical='lgc'>: who experimental intentions and practices arise and evolve out of and al="trms"nttrm="already,spread">ready existing involvement with, and understanding of a concrete ="trms">situation
="lsts lst1">•='lgc'>[='strcls'>*='lgc'>]="trms">phenomenology='lgc'>: (taking its point of departure from what is called ="trms">embodiment) the experiences of a unified being, which cannot be understood apart from concrete human experience
philosopher ='lgc'>='lgc'>--> values experts ='lgc'>='lgc'>--> (fit into various) applied ethics contexts
="ppl">="ppl">Ihde rejecting a normativity that is predetermined by a dystopian/utopian cast
“let the things speak for themselves” (after they have been critically ="trms">interrogated)
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="ppl">="ppl">Galison
(employing) kinesthetic-tactile body experiences in Einstein's Gedanken-experimenten ='lgc'>='lgc'>--> notions of the equivalence of gravity and acceleration
perceptual experience in relative train movement
clock watching in ="trms">different space-time particularities
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“On the Electrodynamics of Moving Bodies”
Einstein's special relativity ='lgc'>='lgc'>--> begins with basic assumptions about the behavior of clocks, rulers, and bodies in force-free motion
Einstein's rethinking of ='strcls'>*distant ="trms">simultaneity='strcls'>* (part philosophy ='and'>& part physics)
="prgrph">-judgment of ="trms">simultaneous event='lgc'>: “that train arrives here at 7 o'clock"='lgc'> = "the pointing of the small hand of my watch to 7 and the arrival of the train are ="trms">simultaneous events”
electrodynamics always depended on a view about kinematics ='lgc'>: how clocks and rulers behaved in the absence of force
1891 Germany Leipzig was the site of one of the first electrically distributed time ="trms">systems (to bind distant clocks to a single central clock) ='lgc'>='lgc'>--> railroad lines
piecemeal ruin of time
="lsts lst1">•an inconvenience for the ="trms">traveler
="lsts lst1">•actual difficulty of vital importance for the railway business and military
means of consistent calibration
🕓 coordinated time ='lgc'>='lgc'>--> ="trms">material-economic necessity ='lgc'>+ cultural ="trms">imaginary
='lgc'>='lgc'>==> 1900 blossoming of chronometric patents='lgc'>: on remote alarms, remote regulation of pendula, telephonic, even wireless-trans="trms">mission of time
='lgc'>}='lgc'>='lgc'>--> pass through the Swiss patent office in Bern ='and'>& Einstein's desk ='lgc'>='lgc'>--> Einstein's expertise on electromechanical devices (1902)
electromagnetic clock coordination ='lgc'>: transforming small electrical currents into high-precision rotatory movements
='lgc'>}='lgc'>='lgc'>--> “time is money” ='lgc'>--="ppl">="ppl">Galison='lgc'>='lgc'>--> no old-="trms">fashioned mechanical, hydraulic, or pneumatic ="trms">system would do='lgc'>--electricity was the key to the future (a future that would only come about properly if humankind broke with its mechanical clock ="trms">past riven by anarchy, incoherence, and ="trms">routinization)
distant ="trms">simultaneity ='lgc'>='lgc'>--> political, profitable, ="trms">pragmatic ='lgc'>=/= anarcho-clockism
='at'>#title
="trms">international bureau of ="trms">measurement
Einstein agonizing over the ="trms">nature of moving bodies and electrodynamics
='lgc'>=/= ether='lgc'>: the centerpiece of nineteenth-century physical theories
kinematics='lgc'>: ="trms">geometry of motion, behavior of ="trms">matter in the absence of force
="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of Einstein's relativity theory ='lgc'>--="ppl">="ppl">Galison='lgc'>='lgc'>--> underlined through some of the most ="trms">symbolized mechanisms of ="trms">modernity ='lgc'>~ determining train arrival times using electromagnetically coordinated clocks (was precisely the ="trms">technological issue that had been racking Europe 1902) ='lgc'>: ="trms">symbol of the ="trms">interconnected sped-up ="trms">world of ="trms">modernity
='strcls'>*centralized time='strcls'>* distribution was the temporal-physical glory of the unified German empire
turn-of-the-century Euro-American ="trms">world ='lgc'>='lgc'>--> overlapping ="trms">networks of coordination='lgc'>: webs of train tracks, telegraph lines, meteorological ="trms">networks, longitude surveys under the watchful, increasingly universal, clock ="trms">system
='lgc'>='lgc'>--> Einstein's special theory of relativity was (an ="trms">imaginative) machine ='lgc'><='lgc'>-- ="ppl">="ppl">Galison's ="trms">technological ="trms"nttrm="already,spread">reading of (Einstein's) most theoretical paper
Einstein had opened the zone of unification (but in the process='lgc'>:)
="lsts lst1">•he removed Berlin as the Zeitzentrum
="lsts lst1">•designed a machine that upended the very ="trms">category of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical centrality
post ="trms">world war I
all the activities of man, whether conscious or unconscious (sleeping, eating, meditating, playing) take place in time; without order, without ="trms">specified plans, we risk falling into anarchy (physical, intellectual and moral misery)
='lgc'>--Favarger='lgc'>='lgc'>--> the remedy='lgc'>: the precise ="trms">measurement and determination of time with the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor of an astronomical observatory
(to) democratize time ='lgc'>: time ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor must be distributed electrically
(='lgc'>=/= gears and magnets)
="ppl">="ppl">Galison's exploring the ="trms">material culture of clock coordination is to set Einstein's place in a universe of meaning ='lgc'>--avoid='lgc'>='lgc'>--> two problematic ="trms">positions (='strcls'>*on the ="trms">relation of things to thoughts='strcls'>*)='lgc'>:
="lstsrd">1. ="trms">materialism or ="trms">="trms">empiricism='lgc'>: inductive, observation-centered account of ="trms">scientific development (='lgc'>~ that ideas emerge ="trms">causally and univalently from the dis="trms">position of objects and the impressions they make upon us) ='lgc'>='lgc'>==> “theory='lgc'> = provisional addition”
="lstsrd">2. anti="trms">positivist movement of the 1960s and 1970s (that programmes, paradigms, and conceptual schemes came first ='lgc'>==reshape='lgc'>='lgc'>==> experiments and ="trms">instruments all the way down) “thoughts fully structured things”
1902 ='lgc'>='lgc'>--> triumph of the ='strcls'>*electrical over the mechanical='strcls'>* was al="trms"nttrm="already,spread">ready ="trms">symbolically wired to dreams of ="trms">modernity
='strcls'>*electrical chronocoordination ='lgc'>--signified='lgc'>='lgc'>--> political, cultural, ="trms">technical unity all at once ='lgc'>[='strcls'>*Einheitszeit='lgc'> = imperial empire (='lgc'>='lgc'>~= democracy, ="trms">world citizenship, and antianarchism)='lgc'>]
='strcls'>*patent office='lgc'>: grandstand seat for the great parade of ="trms">modern ="trms">technologies
='lgc'>='lgc'>==> Einstein (eliminating the master clock ='lgc'>+ raising the conventionally set time to a physical principle ='lgc'>='lgc'>==> ="trms">modern 20th century physics of relativity)
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James Ash
on videogame designer (='lgc'><='lgc'>-- i am applying that to ="trms">technical animators)
distribution and trans="trms">mission of media ="trms">affects
='lgc'>[animators='lgc'>] work to create the potential for ='strcls'>*="trms">positively ="trms">affective encounters to occur='strcls'>* (encounters which increase the body’s capacity to act ='and'>& produce as="trms">sociated ="trms">positive senses of intensity)
creating critically and commercially successful
='strcls'>*producing ="trms">contingency='strcls'>* (that designers attempt to manage and control)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
the ="trms">code space of the software environment ='lgc'>+ ="trms">embodied ="trms">techniques hackers generate (in ="trms">response to that environment)
='strcls'>*structural determination ='lgc'>+ emergent practice='strcls'>*
a key aspect of media today ='lgc'>--Stiegler='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]selection='lgc'>: a decision is made to broadcast one ="trms">story over another
testing ='lgc'>='lgc'>--> calculative logics of anticipation and preemption ='lgc'>--shape='lgc'>='lgc'>--> the ="trms">contingency of the event
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the actual practices of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers (="trms">technical animator)
animation industry
the ways in which ="trms">affect can be actively manipulated for commercial and economic ends in the design and production of ="trms">consumer services and good
='strcls'>***="trms">technologies are ="trms">affectively engineered='strcls'>*** ='lgc'><='lgc'>--Thrift='lgc'>--Ash='lgc'>-- microbiopolitics of the ="trms">subliminal='lgc'>: doing without thinking, practices of anticipatory manipulation ='lgc'>='lgc'>==> ="trms">position ="trms">consumers of media as passive dupes (='lgc'><='lgc'>-- زیرپوستی ='strcls'>*hypodermic model of media power='strcls'>*)
='lgc'>--='not'>✕='lgc'>='lgc'>--> Ash='lgc'>: ="trms">affective manipulation is necessarily a fragile achievement that is prone to fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and always reliant upon being continually reworked in the creative ="trms">responses users develop in ="trms">relation to the designed environments with which they ="trms">interact ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to fandom and fan culture='lgc'>]
animation design (videogame)='lgc'>: is a complex, problematic, and ongoing struggle between='lgc'>:
="lsts lst1">•the openness and performative play of ="trms">contingency ='and'>& chance (which emerge through the ="trms">techniques and intelligences that users develop as they become ="trms">skilled at these games)
="lsts lst1">•the mechanical ="trms">systems and calculative rationalities through which these environments are designed
="trms">affective properties of ="trms">contingency ='lgc'>='lgc'>==> commercially and critically successful
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>: assemblage of human and nonhuman actor
="trms">staging, managing, and controlling event ='lgc'>[movement='lgc'>] within the limited computational architecture
(asking with Ash) how ="trms">agency is distributed in the assemblages of various human and ="trms">technical actors that make up ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='qstn'>?
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ='lgc'>=/= architecture
shaping corporeal dis="trms">positions
(entertainment industry does work) to maintain and guard the ="trms">contingent as a ="trms">positive force
="trms">contingency='lgc'>: the unexpected, the random, the singular, the unrepeatable, or the surprising (that which cannot be pinned down by any process that attempts to pin it down) ='lgc'>=/= boring
(Dastur, Dewsbury, ="ppl">Delanda)
='lgc'>='lgc'>--> you need ='strcls'>*open ="trms">skill='lgc'>: ="trms">contingent tactically oriented understanding='strcls'>* (contextually-appropriate ="trms">responsiveness, context-dependent ways, regulated improvisation) ='lgc'><='lgc'>-- hacker's talent
(="ppl">Deleuzian) ='lgc'>[='strcls'>*='lgc'>]="trms">affect='lgc'>: the outcome of an encounter between two or more bodies (which can be human or inhuman, organic or inorganic), which either increases or decreases a body's capacity for action
captivation ='lgc'>='lgc'>--> the ="trms">specificity of the ="trms">ecological ="trms">relationship between user and (image) environment
(game) design
cultivation of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right kinds of ="trms">affects through quantitative variables in the game's ="trms">database ='lgc'>='lgc'>~= (="ppl">="ppl">Latour's) laboratories='lgc'>: theatres of proof (through a process of decontextualization, the ="trms">scientific experiment which isolates the factors it wants to study, an entity becomes nameable ='and'>& calculable ='lgc'>='lgc'>==> pre="trms">dictable ='and'>& knowable)
="lsts lst1">•="ppl">="ppl">Latour's laboratory ='lgc'>--render='lgc'>='lgc'>--> a particular object/process ='lgc'>=/=
="lsts lst1">•game develop ='lgc'>--render='lgc'>='lgc'>--> ="trms">contingency (="trms">contingent events ='lgc'>[within an al="trms"nttrm="already,spread">ready existing horizon of expectation / ="trms">coded structure='lgc'>])
emergence of intelligences (of the users) ='lgc'>='lgc'>--> (="ppl">Massumi's) analogue='lgc'>: something that cannot be purely reduced to ="trms">measurement through quantitative states or mathematical modelling (for example vision ='lgc'>--into='lgc'>='lgc'>--> ="trms">imagination, noise in the ear ='lgc'>--into='lgc'>='lgc'>--> music in the heart ='lgc'>[body operating as transducer='lgc'>] ='lgc'>='lgc'>--> ='strcls'>*transduce energy='strcls'>*) ='lgc'>=/= digital='lgc'>: exhaustively possibi="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic (control re="trms">presented and manipulated through discrete quantitative states)
game design as an essentially the ='strcls'>*anticipatory practice='strcls'>* (practices that attempt to plan, preempt, and rationalise the potentiality of future events in order to bring this potentiality within a logic of calculation -Anderson)
="lsts lst1">•shape the potential actions of potential users ='lgc'>='lgc'>--> rendering ="trms">contingency visible
somatic bodily ="trms">techniques ='lgc'>+ analytical ways of conceptualizing and ="trms">responding to ="trms">situations (within the game, or animation task in a software) ='lgc'>='lgc'>--> reduce them to abstract and ="trms">codified tendencies ='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig
(design='lgc'>:) rendering ="trms">contingency visible through the practices of testing ='lgc'>='lgc'>--> build ="trms">affect into anticipatory practices
airport='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigged architecture (passenger is faced with a ="trms">situation in which forwards or backwards are the only directions they may go)
3D animation ='lgc'>='lgc'>--> ='lgc'>[using='lgc'>] digital (a form of calculative abstraction) ='lgc'>+ ='lgc'>[to create ="trms">positive encounter with='lgc'>] analogue body subject (irreducible to purely digital or discrete mathematical states)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> envelopment='lgc'>: complex forms of ="trms">difference (between the analogue and the digital) are transduced and rendered visible
event as a process of ="trms">ecological emergence (outcome of a ="trms">material assemblage of various entities, forces, and rules working together to encourage and prohibit ="trms">specific forms of movement and action) ='lgc'>--help='lgc'>='lgc'>--> ='strcls'>*how the potential for events to happen are being designed into environments='strcls'>* (preemption, both digital and physical)
mania for what is surprising, for what immediately sweeps us away and impresses us for fleetingness as the basic law of constancy ='lgc'><='lgc'>--="ppl">Heidegger='lgc'>-- a logic that is central to our experience of ="trms">modern ="trms">technology
='lgc'>='lgc'>~/=
games involve the development of ="trms">techniques for ="trms">interacting with them that subsist over longer periods of time within the body
="lsts lst1">•(gamer's) body ='lgc'><='lgc'>==shaped='lgc'>== through the creative ="trms">responses generated by users in ="trms">relation to the images they experience
="lsts lst1">•(game's) ="trms">responses ='lgc'>==bring='lgc'>='lgc'>==> into being ="trms">different bodily capacities and modes of attunement, which cannot be intentionally determined (by those who produce the images through the processes of design)
correct mixture of ="trms">contingency and structure
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
prosthesis ='lgc'>+ castration complex ='lgc'>='lgc'>--> “cyberspace='lgc'>: having your everything amputated”
prosthetic ="trms">skill ='lgc'>='lgc'>~= mastery of the ="nms">phantom limb
='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
prosthetic ='lgc'>='lgc'>--> vivid illustration of the human-="trms">technology ="trms">relations in terms of the body ='lgc'>[='lgc'>=/=='qstn'>? hyperobjects='lgc'>]
(set of) architectural ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>--provide='lgc'>='lgc'>--> foundation of the university
="prgrph">-(in the case of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging) mechanical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>--provide='lgc'>='lgc'>--> foundation of moving bodies
prosthetic ="trms">technology (like the ='strcls'>*magic lantern='strcls'>*)
='strcls'>***="trms">technology of theory='strcls'>***
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging and the ="trms">question of ="trms">morphological cor="trms">respondence (homology='lgc'>: ="trms">systematic similarity) ='lgc'>='lgc'>--> iso="trms">morphic ="trms">systems of ="trms">relations
="lsts lst1">•iso="trms">morphic='lgc'>: 1-1 mapping, structure-preserving mapping ='lgc'>--='not'>✕='lgc'>='lgc'>--> breakable objects
homology='lgc'>: principle of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging, essentially the same (parts might have ="trms">different shapes and be employed for ="trms">different purposes) ='lgc'>='lgc'>--> ="trms">geometrical similarity ='lgc'>='lgc'>--> ‘abstraction='lgc'>: ="trms">materials of organization’ ='lgc'>[="trms">position ='lgc'>+ structure='lgc'>] (Geoffroy > ="ppl">Hubert)
='lgc'>='lgc'>~='lgc'>~='not'>✕='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's body without organs ='lgc'>[anatomical='lgc'>: pure plane of immanence (='lgc'>~ ='strcls'>*="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'> = abstract ="trms">animal='strcls'>*)='lgc'>]
='lgc'>='lgc'>--> (thinkers of) ='strcls'>*organic ="trms">folding='strcls'>* ='lgc'>+ ='strcls'>*comparative biological intuition='strcls'>* ='lgc'>='lgc'>--> ='strcls'>*="trms">science of form='strcls'>*
="lsts lst1">•analogue='lgc'>: a part or organ in one ="trms">animal that has the same function as another part or organ in a ="trms">different ="trms">animal (='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig is the analogue of the ="trms">animal's body)
="lsts lst1">•homotypy (homotype='lgc'>: serially repeated parts) ='lgc'>='lgc'>--> ="ppl">Goethe
homology='lgc'>: a ="trms">morphological cor="trms">respondence determined primarily by relative ="trms">position and connection ='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
='lgc'>--="ppl">Darwin='lgc'>='lgc'>--> ="trms">material ="trms">ancestors (replaced ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ="trms"nttrm="search">archetypes)
philosophical anatomy ='lgc'><='lgc'>='lgc'>~='lgc'>~='qstn'>?='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
="lsts lst1">•dialectics is the search for rational laws which are active in ="trms">nature
="lsts lst1">•discontent with merely ="trms">="trms">empiricism
="lsts lst1">•transcendental (philosopher) ='lgc'>='lgc'>==> ="trms">morphologist
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'>: (step away form ordinary perception and) building ="trms">internal homologies (='lgc'>=/= external ressemblance)
='lgc'>='lgc'>==> comprehensible order (='lgc'>='lgc'>--> ="trms">systematic animation)
='lgc'>='lgc'>='lgc'>~=> complexities and accidents (are also part of it)
='lgc'>='lgc'>--> rational ="trms">morphology
='lgc'>='lgc'>--> mathematization of space ='lgc'>[='lgc'>='lgc'>--> analytic ="trms">geometry (not necessarily ="ppl">Euclidean or ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies, but also curved spaces, n-dimensional spaces, particle spaces, volumetric space, phase space, etc.) (looking at the ="trms">animal) ='lgc'>='lgc'>==> abstract, proliferation of types ='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>] ='lgc'>{='lgc'>--Lefebvre='lgc'>='lgc'>--> ="trms">social critique of abstract space ='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigged='lgc'>}
="prgrph">-the way i learned 3D animation, the space of the software was a n-dimensional spaces (X, Y, Z, time, texture, audio, constraining, etc.)
automaton
a bit of machinery exhibiting somewhat complex behavior ='lgc'>--="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'>='lgc'>--> programming movement ='lgc'>==produce='lgc'>='lgc'>==> a working simulacrum of a living organism
="lsts lst1">•(in the days of magic) “name of god” was the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig for golem ='lgc'>[='qstn'>?='lgc'>]
="lsts lst1">•(in the time of ="ppl">Newton) automaton='lgc'>: clockwork music box
="lsts lst1">•(in 19th century) automaton='lgc'>: glorified heat engine
="lsts lst1">•(in 20th century) intelligent building ='lgc'>[='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>]
="lsts lst1">•(perhaps ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging is our age's) desire to produce and study automata ='lgc'>[='lgc'>='lgc'>~= computational mechanization, kinematic model='lgc'>]
(abstractly) automaton='lgc'>: a set of physically un="trms">specified states, input, output, and operational rules
="large lg3" stl="font-size:110%">
Galileo ='lgc'>='lgc'>--> ="trms">geometrical concept of space (='lgc'>=/= ="trms">differentiated qualitatively)
principles
="lstsrd">1. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>--> a form of understanding ='lgc'>=/= form of sensibility
="lstsrd">2. in animation (physics) the choice of ="trms">geometry is ="trms">pragmatic (='lgc'>=/= analytic, a ="trms">priori) ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to visualization='lgc'>: ="trms">="trms">empiricist conception of ="trms">geometry
(="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>--> transformations are applied to) ="trms">geometrical properties='lgc'>: characterized by an invariance with respect to certain transforma[...]