[...]ssion 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

="large lg2" stl="font-size:112%"> 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

="large lg1" stl="font-size:122%"> testing ='lgc'>='lgc'>--> calculative logics of anticipation and preemption ='lgc'>--shape='lgc'>='lgc'>--> the ="trms">contingency of the event

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'>])

="large lg10" stl="font-size:132%"> 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

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="large lg14" stl="font-size:131%"> 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

="large lg14" stl="font-size:131%"> 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)

="large lg10" stl="font-size:119%"> 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


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 transformations ='lgc'>[for example a line='lgc'>] ='lgc'>='lgc'>--> make it ="trms"nttrm="already,spread">ready for action or animation

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

railway
primary ="trms">symbolic artifacts of the 19th century
railroad ='lgc'>+ its carriages should be considered as one machine ='lgc'>: “a railway, like a vast machine”

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

(="trms">affective arousal) images of beauty amid urgencies of death ='lgc'>='lgc'>=/=> t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger the ="trms">responses one hopes

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

(="ppl">Deleuzian) ='lgc'>[='strcls'>*='lgc'>]event='lgc'>: impact of chaos on the body

most problems don't have solutions ='lgc'>--="ppl">Grosz='lgc'>='lgc'>-->
concepts ='lgc'>=/= solutions to problems
problems ='lgc'>='lgc'>==> ways of living ='lgc'>=/= answers
concepts='lgc'>: align ="trms">materiality with incorporeality

="large lg14" stl="font-size:130%"> identify politics ='lgc'>=/= the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to speak about the ="trms">world, ="trms">matter, ="trms">nature
the reign of the i ='lgc'>='lgc'>--> who am i, who recognizes me, what can i become ='lgc'>='lgc'>--> the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to ="trms">consumption

="large lg3" stl="font-size:110%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................


process ="trms">ontology of transing ='lgc'>: one of many re="trms">embodied sensory arts in transgender practices
='lgc'>='lgc'>--> viral vectoring

='strcls'>*flexible global cognition='strcls'>*

discrete threats of knowing
discrete threats of ="trms">mattering

='lgc'>[='strcls'>*='lgc'>]trans='lgc'>: ="trms">materialization of process
='lgc'>[='strcls'>*='lgc'>]transdisciplinary='lgc'>: ="trms">materialization of labors (in ='and'>& beyond academia) ='lgc'>==="ppl">Katie='lgc'>='lgc'>==> possibility of care

="trms">animal studies ='lgc'>--often='lgc'>='lgc'>--> en="trms">codes ='and'>& de="trms">codes human

='lgc'>~
="trms">relational
trans
multiple
="trms">chimeric
liminal
='lgc'>='lgc'>--> ="trms">relationships that bind humans to their nonhuman companions ='lgc'>[...to virtual explosive demons of Charmed TV series ='lgc'>='lgc'>--> how we ="trms">embody ="trms">animals and how they ="trms">embody us='qstn'>? ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons (my digital folk tale), ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging as sensory medium (a mode of nearness), bodies bound through appropriation='lgc'>]

(in ="nms">apass='lgc'>:)
="trms">zoo="trms">semiotic registers
meaning making registers
bodily contact zones

(Charmed demons state of trans='lgc'>:) modes of incorporation, intimacy, inhabitation
='lgc'>='lgc'>--> tr="trms">animals='lgc'>: trans ="trms">animals, range of kinds of sapience and being in various distributed cognitions, syntaxes,and ="trms">embodiments (and ="trms">affects)

="trms">animals become “="trms">animals” not just in terms of p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality but in terms of a p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality that is located within spatiotemporal coordinations
(Kelley, ="ppl">="ppl">Hayward > ="ppl">Katie)

‘here’ and ‘there’ ='lgc'>~ ="trms">material partials

...
="trms">sensuous trafficking
from inorganic to organic
trans="trms">code sensoria
as refrain
by which life gets lived
play enjoyed
augmented states of being emerge


='strcls'>*distributed cognitions='strcls'>* (populated digitalities) ='lgc'>==Hayles='lgc'>='lgc'>==> abandonment of mastery (="trms">anthropo="trms">morphic fantasies of control)

my text ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons='lgc'> = (an un="trms"nttrm="metaph,metamorph,metabol,metal">metabolized knowl="trms"nttrm="knowledge,Knowledge">edge,) play between ="trms">technical animator programming ='lgc'>+ ="trms">CG ="trms">interface ='lgc'>+ soap opera ='lgc'>+ my ="trms">affective involvement ='lgc'>='lgc'>--> speciation ="trms">bestiary style


not only tr="trms">animals, but national restructuring, political economies of ="trms">sciences, images, culture industries, and ="trms">technologies reordering in infrastructural assemblages are also ="trms">sensuous refrains
="lsts lst1">•some becomings and assemblages might refuse these refrains and ='strcls'>*="trms">demand ="trms">ontologi[...]