[...]he 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

="large lg2" stl="font-size:111%"> 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)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

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

="large lg3" stl="font-size:112%"> 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

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

="large lg5" stl="font-size:153%"> ="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-[...]