[...]ciple ='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

="large lg2" stl="font-size:110%"> ='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

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)

="large lg1" stl="font-size:132%"> 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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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

="large lg4" stl="font-size:112%"> 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'>***



="large lg5" stl="font-size:127%"> ="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 pe[...]