neoksaal wiki - Recent changes [en]

User:Neoksaal/Personal Reader

Neoksaal — Tue, 21 Jul 2026 18:20:46 GMT

← Older revision		Revision as of 18:20, 21 July 2026
Line 1:		Line 1:
	==♞==		==♞==
			📖
			------------
			[[/Uncreative Writing \| Uncreative Writing]]

			[[/Raw Data is an Oxymoron \| Raw Data is an Oxymoron]]
			<br><br><br>
			🎥
			------------
			[[/The Curse \| The Curse]]
	<br><br>		<br><br>
	==✚==		==✚==
Line 34:		Line 43:

	[[/Experimental Translation \| Experimental Translation]]		[[/Experimental Translation \| Experimental Translation]]

	~~[[/Uncreative Writing \| Uncreative Writing]] ○~~

	[[/Victor Turner's Ritual process \| Victor Turner's Ritual process - commentary (KR)]] ○		[[/Victor Turner's Ritual process \| Victor Turner's Ritual process - commentary (KR)]] ○
Line 94:		Line 101:
	🎥		🎥
	------------		------------
	~~[[/Lola rennt, Stranger than fiction \| Lola rennt, Stranger than fiction]]~~

	[[/How To with John Wilson \| How To with John Wilson]]		[[/How To with John Wilson \| How To with John Wilson]]

	[[/The Act of Killing, The Look of Silence \| The Act of Killing, The Look of Silence]]		[[/The Act of Killing, The Look of Silence \| The Act of Killing, The Look of Silence]]

Main Page

Neoksaal — Tue, 21 Jul 2026 18:16:54 GMT

← Older revision		Revision as of 18:16, 21 July 2026
Line 1:		Line 1:
	{{DISPLAYTITLE:~~hello~~}}		{{DISPLAYTITLE:neoksaal wiki}}
	[[File:The Inside Job title card.webp\|800px]]		[[File:The Inside Job title card.webp\|800px]]

User:Neoksaal/Projects

Neoksaal — Tue, 21 Jul 2026 18:12:27 GMT

← Older revision		Revision as of 18:12, 21 July 2026
Line 1:		Line 1:
	<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >		<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >
	<p style="font-family: monospace";>		<p style="font-family: monospace";>
			:: [[/Good News\|/ Good News]]
	:: [[/good:bad bad:good\|/ good:bad bad:good]]		:: [[/good:bad bad:good\|/ good:bad bad:good]]
			:: [[/Interference pattern\|/ Interference pattern]]
	:: [[/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?\|/ .do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?]]		:: [[/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?\|/ .do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?]]
	</p>		</p>
	</div>		</div>

User:Neoksaal/Projects/good:bad bad:good/cookbook

Neoksaal — Tue, 21 Jul 2026 18:11:27 GMT

Created page with "=html page= '''[https://neoksaal.com/good:bad_bad:good/ online now (fix the - thing tomorrow)]''' <br> ==p5js== * [https://www.w3schools.com/jsref/jsref_match.asp match() w3c] * [https://editor.p5js.org/aferriss/sketches/ryZoXYB-X replace() p5js example], [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/String/replace mdn docs] * [https://p5js.org/reference/p5/text/ text()] * [https://p5js.org/reference/p5/textWidth/ textWidth()] * [https..."

New page

=html page=
'''[https://neoksaal.com/good:bad_bad:good/ online now (fix the - thing tomorrow)]'''
<br>
==p5js==
* [https://www.w3schools.com/jsref/jsref_match.asp match() w3c]
* [https://editor.p5js.org/aferriss/sketches/ryZoXYB-X replace() p5js example], [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/String/replace mdn docs]
* [https://p5js.org/reference/p5/text/ text()]
* [https://p5js.org/reference/p5/textWidth/ textWidth()]
* [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/reduce reduce() mdn docs]
<br>

==API==
===headlines===
https://newsapi.org/docs/endpoints/top-headlines woah!<br>
"free plan" only allows 100 api requests per day and i get the articles with 24 hours delay hm<br>
how long would it take for one cycle to finish then?<br>
think 100 request a day is an ample amount<br>
<br>
https://docs.gnews.io/endpoints/top-headlines-endpoint<br>
better, only 12 hours delay instead of 24. also much cheaper subscription fee with 7days free trial.<br>
<br>
can't work with neither of them apparently due to CORS<br>
for now i will just get them through terminal and copy and past to js file<br>
curl -s "https://newsapi.org/v2/everything?q=world&language=en&pageSize=100&apiKey=eaff3186acf14d0788bc88b52c8e5a12" | python3 -c "import sys, json; data = json.load(sys.stdin); articles = data.get('articles', []); [print(f'\"{a[\"title\"].split(\" - \")[0].replace(\"\\\"\", \"\").strip()}\",') for a in articles]"
try with different searches to get more interesting outcome. dont want predominantly U.S. related headlines.
<br>
<br>
<br>
<br>
last week's news headlines that has "good" in it
curl -s "https://newsapi.org/v2/everything?qInTitle=good&language=en&pageSize=100&from=2026-03-15&to=2026-03-22&apiKey=eaff3186acf14d0788bc88b52c8e5a12" | python3 -c "import sys, json; data = json.load(sys.stdin); articles = data.get('articles', []); [print(f'\"{a[\"title\"].split(\" - \")[0].replace(\"\\\"\", \"\").strip()}\",') for a in articles]"
<br>
<br>
===headlines from 100 years ago===
[https://www.loc.gov/newspapers/?dates=1900/1949 Library of Congress, massive archive but all scanned images]<br>
[https://guides.loc.gov/chronicling-america/additional-features Library of Congress API]<br>
[https://developer.nytimes.com/docs/archive-product/1/overview New York Times API archive]<br>
would be cute? to see those headlines slide through the ticker but i can't really develop it further atm
<br>
<br>
=ticker=
<br>
<br>
<br>
=swapping rules=
good : bad
bad : good

User:Neoksaal/Projects/good:bad bad:good

Neoksaal — Tue, 21 Jul 2026 18:11:03 GMT

Replaced content with "<div style="font-size:17px;"> cookbook <br> <br> :: research </div>"

@@ Line 1: / Line 1: @@
-<div style="font-size:17px; text-align: right;">
+<div style="font-size:17px;">
+[[/cookbook|cookbook]]
 <br>
 <br>
+:: [[/research|research]]
-==API==
+</div>

User:Neoksaal/Projects/good:bad bad:good

Neoksaal — Tue, 21 Jul 2026 18:08:53 GMT

Created page with "<div style="font-size:17px; text-align: right;"> . </div> =html page= '''[https://neoksaal.com/good:bad_bad:good/ online now (fix the - thing tomorrow)]''' <br> ==p5js== * [https://www.w3schools.com/jsref/jsref_match.asp match() w3c] * [https://editor.p5js.org/aferriss/sketches/ryZoXYB-X replace() p5js example], [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/String/replace mdn docs] * [https://p5js.org/reference/p5/text/ text()] * [http..."

New page

<div style="font-size:17px; text-align: right;">
.
</div>
=html page=
'''[https://neoksaal.com/good:bad_bad:good/ online now (fix the - thing tomorrow)]'''
<br>
==p5js==
* [https://www.w3schools.com/jsref/jsref_match.asp match() w3c]
* [https://editor.p5js.org/aferriss/sketches/ryZoXYB-X replace() p5js example], [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/String/replace mdn docs]
* [https://p5js.org/reference/p5/text/ text()]
* [https://p5js.org/reference/p5/textWidth/ textWidth()]
* [https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Global_Objects/Array/reduce reduce() mdn docs]
<br>

==API==
===headlines===
https://newsapi.org/docs/endpoints/top-headlines woah!<br>
"free plan" only allows 100 api requests per day and i get the articles with 24 hours delay hm<br>
how long would it take for one cycle to finish then?<br>
think 100 request a day is an ample amount<br>
<br>
https://docs.gnews.io/endpoints/top-headlines-endpoint<br>
better, only 12 hours delay instead of 24. also much cheaper subscription fee with 7days free trial.<br>
<br>
can't work with neither of them apparently due to CORS<br>
for now i will just get them through terminal and copy and past to js file<br>
curl -s "https://newsapi.org/v2/everything?q=world&language=en&pageSize=100&apiKey=eaff3186acf14d0788bc88b52c8e5a12" | python3 -c "import sys, json; data = json.load(sys.stdin); articles = data.get('articles', []); [print(f'\"{a[\"title\"].split(\" - \")[0].replace(\"\\\"\", \"\").strip()}\",') for a in articles]"
try with different searches to get more interesting outcome. dont want predominantly U.S. related headlines.
<br>
<br>
<br>
<br>
last week's news headlines that has "good" in it
curl -s "https://newsapi.org/v2/everything?qInTitle=good&language=en&pageSize=100&from=2026-03-15&to=2026-03-22&apiKey=eaff3186acf14d0788bc88b52c8e5a12" | python3 -c "import sys, json; data = json.load(sys.stdin); articles = data.get('articles', []); [print(f'\"{a[\"title\"].split(\" - \")[0].replace(\"\\\"\", \"\").strip()}\",') for a in articles]"
<br>
<br>
===headlines from 100 years ago===
[https://www.loc.gov/newspapers/?dates=1900/1949 Library of Congress, massive archive but all scanned images]<br>
[https://guides.loc.gov/chronicling-america/additional-features Library of Congress API]<br>
[https://developer.nytimes.com/docs/archive-product/1/overview New York Times API archive]<br>
would be cute? to see those headlines slide through the ticker but i can't really develop it further atm
<br>
<br>
=ticker=
<br>
<br>
<br>
=swapping rules=
good : bad
bad : good

User:Neoksaal/Projects

Neoksaal — Tue, 21 Jul 2026 18:07:44 GMT

← Older revision		Revision as of 18:07, 21 July 2026
Line 2:		Line 2:
	<p style="font-family: monospace";>		<p style="font-family: monospace";>
	:: [[/good:bad bad:good\|/ good:bad bad:good]]		:: [[/good:bad bad:good\|/ good:bad bad:good]]
	:: [[/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?\|/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?]]		:: [[/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?\|/ .do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?]]
	</p>		</p>
	</div>		</div>

User:Neoksaal/Projects

Neoksaal — Tue, 21 Jul 2026 18:07:33 GMT

Created page with "<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" > <p style="font-family: monospace";> :: / good:bad bad:good :: /.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .? </p> </div>"

New page

<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >
<p style="font-family: monospace";>
:: [[/good:bad bad:good|/ good:bad bad:good]]
:: [[/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?|/.do + .tigers + .melt + .like + .butter + .in + .the + .forest + .?]]
</p>
</div>

User:Neoksaal

Neoksaal — Tue, 21 Jul 2026 18:01:50 GMT

← Older revision		Revision as of 18:01, 21 July 2026
(One intermediate revision by the same user not shown)
Line 1:		Line 1:
	<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >		<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >
	<p style="font-family: monospace";>		<p style="font-family: monospace";>
			:: [[/Projects\|/ Projects]]
	::: [[/Trouble Shooting\|/ Trouble Shooting]]		::: [[/Trouble Shooting\|/ Trouble Shooting]]
	~~:: [[/Projects\|/ Projects]]~~
	:: [[/PMOMMs\| / PMOMMs]]<br>		:: [[/PMOMMs\| / PMOMMs]]<br>
	:::: [[/Glossary\|/ Glossary]]<br>		:::: [[/Glossary\|/ Glossary]]<br>
	::::: [[/Annotated Bibliography\|/ Annotated Bibliography]]<br>		::::: [[/Annotated Bibliography\|/ Annotated Bibliography]]<br>
	:::::: [[/Personal Reader\|/ Personal Reader]]<br>		:::::: [[/Personal Reader\|/ Personal Reader]]<br>
	::: [[/~~Prototyping~~\|/ ~~Prototyping~~]]<br>		::: [[/Tutorials\|/ Tutorials]]<br>
	:::: [[/How to ( )\|/ How to ( )]]<br>		:::: [[/How to ( )\|/ How to ( )]]<br>
	:::::: [[/Links\|/ Links]]<br>		:::::: [[/Links\|/ Links]]<br>
	</p>		</p>
	</div>		</div>

User:Neoksaal/Personal Reader

Neoksaal — Tue, 21 Jul 2026 17:54:25 GMT

← Older revision		Revision as of 17:54, 21 July 2026
Line 1:		Line 1:
			==♞==
			<br><br>
			==✚==
	📖		📖
	------------		------------

User:Neoksaal/Personal Reader/The Bare Facts of Ritual

Neoksaal — Tue, 21 Jul 2026 17:51:30 GMT

Created page with "by Jonathan Z. Smith History of Religions, Vol. 20, No. 1/2, Twentieth Anniversary Issue (Aug. - Nov.,1980), pp. 112-127<br> Published by: The University of Chicago Press<br> <br>recommended by Lidia <br> <br> =temple= ==="pivoting of the sacred."=== described by Van Gennep in ''Les Rites de passage'' (1909) <blockquote> there is nothing that is inherently sacred or profane. These are not substantive categories, but rather situational or relational categories, mobile bou..."

New page

by Jonathan Z. Smith
History of Religions, Vol. 20, No. 1/2, Twentieth Anniversary Issue (Aug. - Nov.,1980), pp. 112-127<br>
Published by: The University of Chicago Press<br>
<br>recommended by Lidia
<br>
<br>
=temple=
==="pivoting of the sacred."===
described by Van Gennep in ''Les Rites de passage'' (1909)
<blockquote>
there is nothing that is inherently sacred or profane. These are not substantive categories, but rather situational or relational categories, mobile boundaries which shift according to the map being employed. There is nothing that is in-itself sacred, only things sacred-in-relation-to.
</blockquote>

User:Neoksaal/Personal Reader/Political Ritual and Social Integration

Neoksaal — Tue, 21 Jul 2026 17:50:29 GMT

Created page with "[https://stevenlukes.net/wp-content/uploads/2012/05/political-ritual-and-social-integration.pdf] by Steven Lukes, 1975 <br> <br> =Definition of Rituals= on how ritual is to be identified and interpreted * Most writers agree in seeing '''ritual as rule-governed—in the sense of being both patterned and usually involving normative pressure on its participants.''' * ...or whether, on the other, ritual need not be inherently religious, so that relevant similarities between..."

New page

[https://stevenlukes.net/wp-content/uploads/2012/05/political-ritual-and-social-integration.pdf] by Steven Lukes, 1975
<br>
<br>
=Definition of Rituals=
on how ritual is to be identified and interpreted
* Most writers agree in seeing '''ritual as rule-governed—in the sense of being both patterned and usually involving normative pressure on its participants.'''
* ...or whether, on the other, ritual need not be inherently religious, so that relevant similarities between religious and non-religious rituals come into view.
: ↳ ...and indeed at modern political rituals, in which the mystical or supernatural often play little or no role.
* Some anthropologists have traditionally stressed the '''irrational or non-instrumental character of ritual, others its expressive or symbolic nature.'''
<br>
on rationality:
<blockquote>
Leaving aside the question of specifying non-contestable criteria of rationality, this offers a useful account of how the anthropologist actually proceeds: <mark style="background-color: #b4edff ">for it is precisely the apparent irrationality of certain activities and beliefs which leads him to see them as symbolic.</mark>
</blockquote>
: this is interesitng
: ↳ 인류학자는 어떤 행위가 합리적이냐 아니냐를 절대 기준으로 판단하기보다는, 겉보기에 비합리적인 행위일수록 그것이 상징적 의미를 지닌다고 보고 분석한다.
: ↳ ‘왜 저런 비효율적인 행동을 할까?’라는 의문에서 그 행동이 단순한 도구적 행동이 아니라 상징이라는 판단으로 이어지는 것?
<br>
===Symbolic nature===
what, then, does the symbolic nature of ritual consist in?
<blockquote>
It seems unduly loose to see it simply as the 'expressive, even dramatic' aspect of acts which have 'meanings' and involve 'mental associations' (Beattie 1966: 60 and 1970: 240) or, quite generally, as the 'aesthetic' and 'communicative aspect of behaviour', that is, an 'aspect of almost any kind of action', that which '“says” something about the individuals involved in the action' (Leach 1968: 523, 524 and 1954: 13).<br>
'''On this view, all activities would be rituals.'''
</blockquote>
: → "상징이 있으니까 상징적이다" 라는 순환적 정의가 아니라, 그 상징성이 정확히 어떤 구조로, 어떤 방식으로 작동하는가?
: → like, if we say everything is symbolic, then basically, nothing is especially symbolic.<br>so when we talk about the symbolism of ritual, we cant just rely on emotional expression or aesthetic qualities, like being said by Beattie and Leach.
:: ↳ Instead, '''ritual needs to be defined as an act that carries specific kind of social meaning'''
<br>
'''의례 해석은 단순히 어려운 것이 아니라 진실이 무엇인지에 대한 투쟁의 일부다'''<br>
'''1.''' "ritual symbolism as having a special significance or social value within the relevant social group (a significance and value which the ritual itself serves to reinforce)", Radcliffe-Brown
의례가 지시하는 대상(사물, 관계, 역할 등)은, 그 사회 집단 안에서 특별한 사회적 가치나 의미를 갖고 있는 것들이다.
의례는 그 가치를 단지 표현하는 것이 아니라, 강화하기 위한 구조이기도 하다.
의미는 상징 그 자체에 내재되어 있는 것이 아니라,  의례를 수행하는 집단의 삶과 관계 안에서 구성되는 것.<br><br>
'''2.''' "The observer cannot simply accept the actors' interpretations, the 'rationalizations of the devout', indeed, these will themselves need to be interpreted. On the other hand, he cannot be completely uncontrolled in his interpretations. His task is to interpret the ritual within its context: '''the objects of thought and feeling which are the referents of the symbolism, and their special significance within a given social context, are matters that must be empirically established.'''"
의례 해석은 본질적으로 이론 의존적이며, 동시에 토착적 해석과도 긴장혹은 마찰을 겪는다.
의례 해석은 객관적으로 검증되기 어려우며, 가능한 것은 ‘개연성 있는 해석들’을 나란히 놓고 비교하고 갱신하는 일이라는 것.
어떨때는 주어진 사회적 맥락속에서 경험되어야만 해석이 가능한 경우도 있음.<br><br>
'''3.''' interpretating ritual symbolism is a matter of power--it's about how society is perceived and understood.
상징은 개인적 감정이나 종교적 실체를 말하는 것이 아니라, 사회 구조와 집단 정체성, 역할 분배 등을 정당화하고 재생산하는 장치.
<br>
=Durkheimian Legacy=
<br><br>
=Critism=
Through the half of the article he criticizes Neo-Durkheimians for viewing rituals just as instruments for promoting social integration--specifically using the cases of US and Britain.<br>
According to Neo-Durkheimians, the political rituals express, produce, and constitute(structure) shared values. And through that, society reaffirms the moral integration and emotional consensus.
* “의례는 모두가 동의하는 가치를 나타낸다”
* “의례는 그런 가치를 만들어낸다”
* “의례는 그 가치 체계를 구조화한다”
examples like coronation, inauguration or national memorials of the dead repeatedly reinforces the belief that the society shares the common moral standard and collective identity.
<br>
But the author argues that this approach reduces social integration to an overly simplified model.
<mark style="background-color: #b4edff ">In reality society doesn’t come together naturally through a single set of values or shared feelings. Instead it often holds together through class tensions, conflicting interests, or invisible forms of repression—which is a way more realistic way of looking at this.
<u>So by ignoring the complexity and claiming that “ritual bring society together”, there’s a risk of unintentionally justifying the existing power structure without no questioning.</u></mark>
<br>
<blockquote>
I suggest, in short, that we should go beyond the somewhat simplistic idea of political ritual expressing-producing-constituting value integration seen as the essence of social integration (which is the banal but widely applied aspect of Durkheim's theory) and take up instead <mark style="background-color: #b4edff ">'''the fertile idea that ritual has a cognitive dimension (this being, in any case, the central and original part of Durkheim's theory), though placing it (as Durkheim did not) within a class-structured, conflictual and pluralistic model of society.'''</mark>
</blockquote>
therefore the needed questions are:
* Who (i.e. which social groups) have prescribed their performance and specified the rules which govern them?
* Who (which social groups) specify the objects of thought and feeling they symbolize—specifically, certain forms of social relationship and activity—as of special significance?
* Who exactly holds them to be specially significant, and significant in what ways?
* In the interests of which social groups does the acceptance of these ways of seeing operate?
* And what forms of social relationship and activity are in consequence ignored as of less or no significance?
* Under what conditions are political rituals most effective in getting participants and observers to internalize the political paradigms they represent?
* How are such rituals used strategically by different groups, exerting or seeking power in society?
“누가 언제, 어떻게 무엇을 얻는가” 혹은 “사람들이 정부를 통해 원하는 것을 얻는 방식”에만 집중하는 것이 아니라, 정치가 사람들이 무엇을 원하고, 두려워하고, 가능하다고 여기며, 심지어 자신이 누구인지까지 형성하는 메커니즘에 초점을 맞추는 것.
<br><br>
=Ritual as Cognitive Function=
'''"To see ritual as cognitive is to see it as world-shaping."'''
: → 의례를 인지적 장치로 본다는 건, 곧 그것이 세상을 구성하는 방식이라는 걸 의미한다.
<blockquote>
My main positive suggestion is that political ritual should be seen as reinforcing, recreating and organizing representations collectives (to use Durkheim's term), that the symbolism of political ritual represents, inter alia, particular models or political paradigms of society and how it functions.
<br><br>
In this sense, such ritual plays, as Durkheim argued, a cognitive role, rendering intelligible society and social relationships, serving to organize people's knowledge of the past and present and their capacity to imagine the future.
<br><br>
In other words, it helps to define as authoritative certain ways of seeing society:<br>
<mark style="background-color: #b4edff ">it serves to specify what in society is of special significance, it draws people's attention to certain forms of relationships and activity—and at the same time, therefore, it deflects their attention from other forms, '''since every way of seeing is also a way of not seeing.'''</mark>
</blockquote>
: → <mark>'''의례는 무언가를 강조하고 표상함으로써 다른 가능성을 은폐하고, 그 은폐가 반복되면 그것이 당연한 현실로 자리 잡는다. → 인지적 사회 통제의 작동 방식.'''</mark>
<br><br>
==Mobilization of Consent==
시민들이 정치 체제에 대해 자발적으로 동의하고 있다는 감각을 만들고,  그것을 반복/상징적으로 재현하는 정치적 장치들(의례 포함)<br>실제 영향력이나 실질적 평등 여부와는 무관할 수 있으며,  정치적 정당성을 ‘상징적으로’ 생산하고 유지하는 메커니즘
===Cognitive demension of power===
'''Elections'''<br>
<br>
'''Legislatures'''<br>
<br>
'''Media'''<br>
<br>
'''Memorials'''<br>
<br>
'''The Law'''<br>
<br><br>
==Mobilization of Bias==
<blockquote>
political rituals can be analysed as part of what has been called the 'mobilization of bias'(Schattschneider 1960: 71)—that <mark style="background-color: #b4edff ">'set of predominant values, beliefs, rituals [sic.] and constitutional procedures ("rules of the game") that operate systematically and consistently to the benefit of certain persons and groups at the expense of others'.</mark> And parallel analyses could be made of rituals that are not 'predominant' or hegemonic—whether these are subordinate and oppositional but posing no challenge to the existing social and political order, or else radically oppositional and representing a real challenge to the existing order.
</blockquote>
Lukes sees the '''political ritual as the key mechanism of mobilization of bias'''. unlike how neo-durkheimians suggests that the political rituals are not warm, feelgood event that bring people together, they are cognitive tools that make certain social structures and power relations seem natural and unquestionable.
<br>
<br><br>
<span style="font-size: 16px">definition from [https://www.igi-global.com/dictionary/mobilisation-of-bias/18993#:~:text=Chapter%20102,and%20agents%20while%20excluding%20others.]:</span>
This is a dimension in the exercise of power within institutions.<br>It refers to institutional features and <u>'''knowledge frameworks''' that tend to admit some issues and agents while excluding others.</u><br>It embraces the processes by which some alternatives may remain invisible because proponents lack the resources to affect decision-making processes or because they are excluded from the processes.
<br><br>
<span style="font-size: 16px">another definition from [https://wordrow.kr/%EC%9D%98%EB%AF%B8/%ED%8E%B8%ED%96%A5%EC%84%B1%EC%9D%98%20%EB%8F%99%EC%9B%90/]:</span>
모든 형태의 정치 조직이 특정 종류의 갈등에 대해서는 선호하는 반면, 그 외의 갈등에 대해서는 그것을 억압하려는 성향. 계급 갈등의 상쇄를 위해 인종 갈등을 이용하거나 지역 갈등을 이용하는 것 등이 대표적인 예이다.
: ↳ ‘편향의 동원’은 단지 지배 질서 유지 메커니즘이 아니라, 어떤 갈등이 ‘정치적’으로 인정받고, 어떤 갈등은 사라지는가를 결정짓는 인지적 질서의 통제 방식
<br>
<span style="font-size: 15px">정리:</span><br>
* 권력의 비가시성: 권력이 어떤 이슈를 제도 내로 들여올 것인지 vs 배제할 것인지를 결정하는 데서 편향의 동원이 작동
* 의제 설정 독점화? 경계설정?: 어떤 것은 정치적 이슈로 간주되고 어떤 것은 논의조차 되지 않음. 이 의제의 경계 설정이 편향된 제도적 조건에 의해 유지됨
* 인지적 폐쇄: 어떤 대안은 아예 보이지 않게 되며, 사람들은 그것이 가능하거나 실현 가능한 정치적 선택지라고 생각하지 않게 되는 현상
* 접근자원의 불공정성/비대칭성: 자원 부족이나 과정으로부터의 배제가 편향을 구조화한다는 것
<br><br>
<span style="font-size: 16px">examples i can think of :</span><br>
'''[https://en.wikipedia.org/wiki/1992_Los_Angeles_riots 1992 Los Angeles uprising, or Rodney King riots]'''
: ● institutions make some conflicts visible and keep the others hidden, or channeling or reframing the conflict itself
:: - Rodney King incident was essentially a structural conflict between LA police and black community
:: - but politics and media reframed it as emotional misundertanding between races or tension between communities
:: - at the end the responsibility of the police institution became blurred, and the anger against LA police redirected to small shop owners in korea town, they became the easy target
: ● who gets to speak and who is silenced is how the mobilization of bias works
:: - korean community in LA was disadventaged in terms of political representation, language access and media presence
:: - black community expressed their anger but structural framing made it difficult for that anger to be directed at the system itself
<br>
'''mainstream politics fostering gender polarization in SK'''
:: - in mainstream politics and media in SK has been intensely spotlighting the gender conflict--especially the "feminism vs. anti-feminism" divide over the last decade
:: - the framework of this specific "issue" is often presented in more provocative and politically usable ways than actual structural issues like youth unemployment, inequality in labor conditions, housing crisis, etc
::: - so larger structural inequalities(class, region, generation) are obscured, the problem arises when they are spotlighted only in ways that are politically convenient and good chunk of political actors mobilize that bias to build legitimacy and support

User:Neoksaal/Personal Reader/The Impossibility of Interface

Neoksaal — Tue, 21 Jul 2026 17:50:00 GMT

Created page with "[https://pzwiki.wdka.nl/mediadesign/The_Impossibility_of_Interface]"

New page

[https://pzwiki.wdka.nl/mediadesign/The_Impossibility_of_Interface]

User:Neoksaal/Personal Reader/The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics

Neoksaal — Tue, 21 Jul 2026 17:49:12 GMT

Created page with "[https://onlinelibrary.wiley.com/doi/full/10.1111/hith.12324] by Fernando Esposito, Tobias Becker <br> <br> =CONCEPTUALIZING CHRONOPOLITICS= <blockquote> Indeed, the term “chronopolitics” might well be an indicator that we are in the midst of one of those '''temporal “gaps”''' (as François Hartog calls them, with reference to Hannah Arendt) in which '''<mark style="background-color: #b5ffdb">“shifting landmarks throw us off balance, and the articulations of pa..."

New page

[https://onlinelibrary.wiley.com/doi/full/10.1111/hith.12324] by Fernando Esposito, Tobias Becker
<br>
<br>
=CONCEPTUALIZING CHRONOPOLITICS=
<blockquote>
Indeed, the term “chronopolitics” might well be an indicator that we are in the midst of one of those '''temporal “gaps”''' (as François Hartog calls them, with reference to Hannah Arendt) in which '''<mark style="background-color: #b5ffdb">“shifting landmarks throw us off balance, and the articulations of past, present, and future come undone.”</mark>'''
</blockquote>
'''Temporal Gaps'''
: - maybe there were some kind of narrative of time, where you could predict the future based on how the past went. but when this ''temporal "gaps"'' opens up, that linear flow of time gets cut off.
: - now the future is uncertain, present is isolated, and the past becomes unreliable.
:: ↳ 역사 해석 다툼 등, 과거를 어떻게 기억하느냐가 싸움거리가 되고, 기후위기나 경제위기, 전쟁으로 현재는 혼란스럽다, 게다가 미래는 더더욱 상상하기 어렵다 예전처럼 미래가 현재보다 더 나을 것이라는 예측을 할 수 없는 상황.
: - therefore the need of this relatively new terminology is a sign that we are experiencing more uncertain relationship with time.
<br><br>
'''how power operates through control over time'''
* who gets to organize the past
* who defines the present
* who predicts the future
<br><br>
'''regression & apocalyptic thinking?'''
<br>
<br>
<br>
<br>
==Terminology==
크로노폴리틱스는 처음에는 전쟁과 대치 상황(특히 핵위기)과 직접 연결되었고, 이후에는 사회 전체의 시간-권력 구조를 설명하는 개념으로 확장됨.
<br>
<span style="font-size: 14pt">'''Alan Geyer, ''The Christian Scholar'', 1964'''</span><br>
the term Chronopolitics first came up in the context of nuclear war threats (Cuban missile crisis).
* Catapolitics : ''the explosion of the dimension of history''
* Chronopolitics : ''continuation of history and civilization'' → 위기상황에서의 시간인식
in Geyer's context, the term was introduced as a counterpoint to the idea of Catapolitics.
<br>
<br>
<br>
<br>
<span style="font-size: 14pt">'''George W. Wallis, ''"time-perspectives, time of transition"'', 1970'''</span>
<blockquote>
Wallis employed '''<mark style="background-color: #b5ffdb">“the term chronopolitics . . . to emphasize the relationship between the political behavior of individuals and groups and their time-perspectives”</mark>''' and to explore '''politics’ dependency on underlying understandings of change and social development.'''
</blockquote>
<blockquote>
Whether the latter are grasped “as inevitable and as part of the natural order” or “as primarily a creation of the human will” has far-reaching consequences: if “the principles of the ‘proper’ society have been established” and if the “broad outline” of the future is already decided, politics will “shift to matters of maintenance and repair,” stressing “the technicalities of adjustment.” If, on the other hand, the present is seen as “a period of crucial decisions” on “which paths to take,” the result will be a '''<mark style="background-color: #b5ffdb">“politics of crisis.”</mark>'''
</blockquote>
: ↳ 사회가 스스로를 "유지/보수" 국면으로 보느냐 아니면 "결정적 위기"로 보느냐에 따라 정치적 형태가 달라짐
<br>
<br>
<br>
<span style="font-size: 14pt">'''Paul Virilio, ''Speed and Politics'', 1977'''</span>
<blockquote>
Inspired by Sun Tzu, Filippo Tommaso Marinetti, and the Blitzkrieg, Virilio emphasized the close nexus of power and speed and attempted to shift the focus of the analysis of contemporary societies from the Industrial Revolution to the “dromocratic revolution,” from democracy to “dromocracy,” from geopolitics to chronopolitics.

For Virilio, chronopolitics was “Apolitics” and thus less an active shaping of the present by political institutions than a condition of (post)modernity: “Today,” Virilio stated in 1983, “we’re in chronopolitics.”
</blockquote>
: - '''speed becomes power, politics becomes ineffective'''
:: ↳ itt's not political institutions but speed itself that govern society
::: → 땅이나 돈이 권력의 핵심이었으나 지금은 정보의 속도를 지배하는 것이 권력의 핵심으로 변함
::: → 국가, 정부, 정당등의 정치, 입법기관이 너무 빨리 변하는 현실을 못따라잡는 현상 --정치 제도가 이 속도를 못따라옴
::: → 정보흐름, 교통속도, 금융거래속도 같은 ''''속도 그 자체''''가 사회의 질서를 결정한다
<br>
<br>
<br>
<span style="font-size: 14pt">'''Peter Osborne, ''"Politics of Time"''<br> Johannes Fabian, ''Time and the Other'', 1983'''</span>
<blockquote>
Osborne defined the politics of time as '''<mark style="background-color: #b5ffdb">“a politics which takes the temporal structures of social practices as the specific objects of its transformative (or preservative) intent.”</mark>'''
</blockquote>
'''"Temporal structures of social practices"'''
* no more than 8 hours a day of work
* concept of weekend
* 18 months of mandatory military service (SK)
* maternal leave
* retirement age
* election cycle
etc etc
<br><br>
'''Historical Time'''
: ↳ the idea that the history is not just the listed events that happened, we are interpreting and connecting those event within a particular structure of time. and of course that structure is never neutral, it always shaped by specific political perspective/agenda and ideologies.<br>
:::::: also look for:<br>* <u>[[User:Zuhui//Personal Reader/Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines|Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines]]</u> *
<br>
: ● '''Progress narrative'''
:: '''- the invention of linear time'''
::: ↳ foundational belief of western modernity, the temporal logic that legitimates colonialism, capitalism, and tecjno-centrism.
::: ↳ the idea of linear time--flowing from past-present-future, is a historical invention. emerged from ''18th century European enlightenment and 19th century evolutionary historical veiw''.
::: - ''"the present is better than the past, and the future will be even better, thanks to science, reason and progress."''
:::: ↳ before that, time was seen as cyclical, like the rhythm of the natural world.<br>with the belief that human life moved in repeating cycles like the changing of seasons, the moon and etc.
:: '''- how does it justify colonialism?'''
::: ↳ with this concept of linear time, western power put themselves at the front line of the history, while making other cultures as people who hasn't yet arrived--those who stuck in the past, waiting to catch up.
:::: ↳ the classic repertory of "we will civilize you", "one day you can be like us"
::::: ↳ which really makes it the most powerful narrative structures also a way of thinking that weaponizes time.
:: '''- capitalism and techno-centrism'''
::: ↳ also rely on the linear time--progress narrative. with the value systme prioritizing the faster, newer and more efficient. what is old is seen obsolete, anything slower than now means falling behind.
:::: ↳ this turns non-western temporalities or alternative rhythms of time as things that are regressing or irrelevant.
<br>
: - 시간이 일직선으로 간다는 믿음이, 누가 앞에 있고 누가 뒤에 있는지를 결정하고, 그것이 곧 지배/피지배, 문명/미개, 선진/후진 같은 수직구조로 이어지는 것.
: - '''<mark style="background-color: #ffc281 ">the concept of linear time, inevitably tied to the ideology of progress, does not only measuring change but it also orders people and societies within time. it tells us who is "advnaced" and who is "behind". the time becomes the mecahinsm of hierarchy.</mark>'''
<br>
:::::: also look for:<br>* <u>[https://voidnetwork.gr/wp-content/uploads/2016/09/Futures-Past.-On-the-Semantics-of-historical-time-by-Reinhart-Koselleck.pdf ''Futures Past: On the Semantics of Historical Time'', Reinhart Koselleck, 1979]</u> *
:::::: * <u>[http://naturalezacienciaysociedad.org/wp-content/uploads/sites/3/2016/02/Dipesh_Chakrabarty_Provincializing_Europe_PostcBookZZ.org_.pdf ''Provincializing Europe: Postcolonial Thought and Historical Difference'', Dipesh Chakrabarty, 2000]</u> *
:::::: * <u>[https://www.hf.uio.no/ikos/english/research/news-and-events/events/phd/2020/fabian-time-and-the-other-%282014%29-extract.pdf ''Time and the Other: How Anthropology Makes Its Object'', Johannes Fabian, 1983]</u> *
:::::: * <u>[https://monoskop.org/images/e/ea/Kern_Stephen_The_Culture_of_Time_and_Space_1880-1918_Chapters_1-4.pdf ''culture of time and space, 1880-1918'', Stephen Kern, 1983]</u> *
:::::: * <u>[https://jaiu.kg/wp-content/uploads/2024/10/The-Order-of-Things-PDF-Room.pdf ''The Order of Things: An Archaeology of the Human Sciences'', Michel Foucault, 1966] </u> *
<br>
: ● '''Excluding unsynchronized times'''

: ● '''Imposing temporal benchmarks'''

User:Neoksaal/Personal Reader/Time Consciousness and Discipline in the Industrial Revolution

Neoksaal — Tue, 21 Jul 2026 17:48:32 GMT

Created page with "[https://watchesbysjx.com/2020/07/time-consciousness-and-discipline-industrial-revolution.html]"

New page

[https://watchesbysjx.com/2020/07/time-consciousness-and-discipline-industrial-revolution.html]

User:Neoksaal/Personal Reader/Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines

Neoksaal — Tue, 21 Jul 2026 17:48:04 GMT

Created page with "[https://thefunambulist.net/magazine/they-have-clocks-we-have-time/counter-clockwise-unmapping-black-temporalities-from-greenwich-mean-timelines]"

New page

[https://thefunambulist.net/magazine/they-have-clocks-we-have-time/counter-clockwise-unmapping-black-temporalities-from-greenwich-mean-timelines]

User:Neoksaal/Personal Reader/My website is a shifting house next to a river of knowledge

Neoksaal — Tue, 21 Jul 2026 17:47:20 GMT

Created page with "''[https://thecreativeindependent.com/essays/laurel-schwulst-my-website-is-a-shifting-house-next-to-a-river-of-knowledge-what-could-yours-be/ My website is a shifting house next to a river of knowledge. What could yours be?]'' by Laurel Schwulst ==what is a website?== <blockquote> A website is a file or bundle of files living on a server somewhere. A server is a computer that’s always connected to the internet, so that when someone types your URL in, the server will o..."

New page

''[https://thecreativeindependent.com/essays/laurel-schwulst-my-website-is-a-shifting-house-next-to-a-river-of-knowledge-what-could-yours-be/ My website is a shifting house next to a river of knowledge. What could yours be?]'' by Laurel Schwulst

==what is a website?==
<blockquote>
A website is a file or bundle of files living on a server somewhere. A server is a computer that’s always connected to the internet, so that when someone types your URL in, the server will offer up your website. Usually you have to pay for a server. You also have to pay for a domain name, which is an understandable piece of language that points to an IP. An IP is a string of numbers that is an address to your server.
<br><br>
Links (rendered default blue and underlined—they’re the hypertext “HT” in HTML) are the oxygen of the web. Not all websites have links, but all links connect to other webpages, within the same site or elsewhere.
But my students already know this! So when they ask me about actually making a website, they are referring to a website in the world … today.
<br><br>
'''It’s healthy to acknowledge today’s web is much different than the web many of us grew up using. So when they ask how to make a website (despite having already “learned”), they are alluding to the technological friction and social pressures that often come along with creating and maintaining a website in 2018.'''
</blockquote>
<div style="font-size:16px; color:blue;">
: ↳ building a personal website became harder because the web is now dominated by platforms like social media and website builders. on top of that, modern web development also requires more complex tools, hosting, and search engine optimization, making it less accessible(practically unaccessible). many people can learn how to make a website but it is a struggle to actually create and maintain one.
</div>
<br><br>
==="self-reflexive feedback loop"===
<blockquote>
My favorite aspect of websites is their '''duality: they’re both subject and object at once. In other words, a website creator becomes both author and architect simultaneously.''' There are endless possibilities as to what a website could be. What kind of room is a website? Or is a website more like a house? A boat? A cloud? A garden? A puddle? Whatever it is,
<u>there’s potential for a '''self-reflexive feedback loop''': when you put energy into a website, in turn the website helps form your own identity.</u>
</blockquote>
<div style="font-size:16px; color:blue;">
: ↳ as you build and manage a website, it shapes you just as much as you shape it. the process lets you to think and reflect on your identity and creative choices, influencing how you present and structure your work. in this way, website is a dynamic space that evolves with you.
:: ↳ in different words: it is the process in which you build a website, reflect yourself through it, and experience a transformation in your own identity along the way.
</div>
<br><br>
==why have a website?==
===Decentralization===
<blockquote>
Today more than ever, we need individuals rather than corporations to guide the web’s future. The web is called the web because its vitality depends on just that an interconnected web of individual nodes breathing life into a vast network. This web needs to actually work for people instead of being powered by a small handful of big corporations — like Facebook/Instagram, Twitter, and Google.<br><br>
'''Individuals can steer the web back to its original architecture simply by having a website. I think artists, in particular, could be instrumental in this space—showing the world where the web can go.'''
</blockquote>
<div style="font-size:16px; color:blue;">
* Web's original architecture = Decentralized Web [https://en.wikipedia.org/wiki/Decentralized_web wikipedia]<br>
: ↳ early days of internet (Web 1.0, 1980-2000, read-only), people created and managed their own websites, connecting through hyperlinks without relying on centralized platforms.
:: ↳ over time, the web has become more centralized (Web 2.0, 2000-now, read-write), platforms like blogs, social media and youtube made the web more interactive since people could create their own content.<br> but the downside is that most people ended up relying on big platforms like fb, google, x and so on. these companies now own the data and control user experiences through algorithms, making the web more centralized and corporate.
::: ↳ to steer the web back to its original structure of the web, author says we should create and maintain personal websites. by doing so we can contribute to reestablishing this decentralized and open nature, promoting better control over content and fostering a more open internet.
</div>
<br>
<br>
===artist's role, "virtuous, self-perfecting loop"===
<blockquote>
Artists excel at creating worlds. They do this first for themselves and then, when they share their work, for others. Of course, world-building means creating everything—not only making things inside the world but also the surrounding world itself—the language, style, rules, and architecture.
<br><br>
<u>This is why websites are so important. '''They allow the author to create not only works (the “objects”) but also the world''' (the rooms, the arrangement of rooms, the architecture!). Ideally, the two would inform each other in a virtuous, self-perfecting loop. This can be incredibly nurturing to an artist’s practice.</u>
</blockquote>
<div style="font-size:16px; color:blue;">
: ↳ in comparison to the '''“self-reflexive feedback loop,”''' the author highlights that the '''“virtuous, self-perfecting loop”''' is about more than just reflecting on yourself --it’s about building a website like you build an environment, an ecosystem, or even a world. This process is inherently positive, implying growth and refinement, which is why it’s described as “virtuous.”
</div>
<br>
<blockquote>
A website can be anything. It doesn’t (and probably shouldn’t) be an archive of your complete works. That’s going to be dead the moment you publish. '''A website, or anything interactive, is inherently unfinished.''' It’s imperfect—maybe sometimes it even has a few bugs. But that’s the beauty of it. Websites are living, temporal spaces. What happens to
websites after death, anyway?
</blockquote>
<div style="font-size:16px; color:blue;">
: ↳ the most important part of a website is designing the space, or a world where your creations live, not listed.
</div>
<br>
<br>

==metaphors==
===cloud, flock of birds, flowing river===
<div style="font-size:16px; color:blue;">
to bring back one of the metaphors which the author wasn't too keen on, 'the website as a cloud'. the thing about the cloud is that it makes the internet feel like one giant, seamless, abstract, unpalpable system. as if everything just exists in this big floating space.<br>
but that's not how the web really works, the web is a network of individual nodes, and it stays alive when people participate. author suggest that instead of a cloud, it's better to think about it like a flock of birds or a flowing river. not one giant, monolithic thing controlled from the center, but something fluid, organic, made of many moving parts, all contributing to the whole. the more people add and participate, the more alive and independent the web can be.
</div>
<br>
<br>
==in relation to poetic materiality of the web==
<div style="font-size:16px; color:blue;">
<br>
이번 스페셜이슈에서 다루는 “CSS(그리고 웹)의 시적 물질성” 개념과 이 글은 밀접하게 연결되어 있다고 생각한다.
<br><br>
시적 물질성이란, 매체가 단순히 정보를 전달하는 도구가 아니라, 그 자체가 의미를 만들어내는 과정에 적극적으로 개입하는 것을 뜻한다: 형식과 내용이 따로 분리되지 않고, 웹사이트의 구조 자체가 우리가 경험하고 해석하는 방식에 영향을 준다는 개념이다. 저자는 웹을 묘사하는데 다양한 비유를 사용하며, 웹사이트가 단순한 기능적 도구가 아니라 창작자가 형성하는 동시에 형성되는(창작자가 만들어가는 동시에 스스로 변화하는), 역동적인 공간이라는 점을 강조한다.
<br><br>
이 글을 읽으며 핵심이라고 생각한 개념중 하나는 "자기 반영적 피드백 루프"이다: 웹사이트를 만든다는 것은 단순히 창작자가 일방적으로 뭔가를 만들어내는 것 보다는, 웹사이트도 창작자의 사고방식, 선택, 심지어 자기 인식까지 영향을 주는 과정이라는 것. 창작자가 웹사이트에 자신의 정체성, 사고방식, 아이디어를 담아내는 동시에 웹사이트 역시 창작자에게 피트백을 주면서 그들의 관점과 방향을 변화시킨다. 이러한 개념은 CSS의 시적 물질성과 밀접하게 연결되는데, CSS에서 스타일링은 단순한 시각적 장식이 아니라, 콘텐츠가 어떻게 경험되고 해석되는지를 결정하는 능동적인 요소로 작용하기 때문이다.
<br><br>
이런 맥락에서, 저자가 웹사이트를 방, 집, 식물, 정원, 웅덩이 같은 것들로 비유하는 방식은 이 개념을 강조한다. 이런 은유들은 웹이 단순한 고정된 공간이 아니라, 자체적인 에이전시를 가지고 변화하고 상호작용하는 공간이라는 점을 보여준다. CSS가 웹페이지의 시각적 형태뿐만 아니라 동작 방식과 수행성을 결정하는 것처럼, 웹도 단순히 정적인 매체가 아니라 끊임없이 변화하고 반응하는 존재라는 의미다.
<br><br>
그리고 "선순환적이고 자기 완성적인 루프" 개념 또한 웹 디자인에서의 시적 물질성이 작동하는 방식과 맞닿아 있다. CSS는 단순히 페이지를 꾸미는 도구가 아니라, 정보가 어떻게 계층화되고 인식될지를 형성하면서, 콘텐츠 자체만큼이나 사용자 경험을 결정짓는다. 웹사이트의 디자인-레이아웃, 반응성, 사용자와의 인터렉션 방식은 창작자가 자신의 작업을 이해하는 방식까지 바꾸면서, 이를 계속해서 다듬어지는 과정을 만들어낸다. 그러니까 웹사이트 제작은 단순한 뭔가를 기록하고 정리하는 일이 아니라, 창작자의 사고방식과 창작 실천을 확장하는 과정이 된다.
<br><br>
저자가 말하는 “웹사이트는 살아 있는, 끝나지 않고 계속 진화하는 존재”라는 개념은 CSS의 시적 물질성과 맞닿아있다. 웹은 단순히 정보전달용의 중립적인 플랫폼이 아니다. 웹 그 자체가 하나의 시적이고 물질적인 존재이며, 구조와 스타일, 인터렉션 방식이 단순한 기능성을 넘어 의미 생성과 자기 반영의 도구가 된다.
</div>

User:Neoksaal/Personal Reader/House of dust

Neoksaal — Tue, 21 Jul 2026 17:45:59 GMT

Created page with "annotating from<br> [https://hub.xpub.nl/bootleglibrary/read/465/pdf The House of Dust journal, Benjamin Buchloh section]<br> [https://en.wikipedia.org/wiki/Alison_Knowles Alison Knowles wikipedia]<br> korean blog I lost the link <br><br> =the BooK of the future:= .Benjamin Buchloh <blockquote> Each social formation generates its own conventions to bar the subject from experience and speech, and each social formation accordingly requires specific and urgent discoveries o..."

New page

annotating from<br>
[https://hub.xpub.nl/bootleglibrary/read/465/pdf The House of Dust journal, Benjamin Buchloh section]<br>
[https://en.wikipedia.org/wiki/Alison_Knowles Alison Knowles wikipedia]<br>
korean blog I lost the link
<br><br>
=the BooK of the future:=
.Benjamin Buchloh
<blockquote>
Each social formation generates its own conventions to bar the subject from experience and speech, and each social formation accordingly requires specific and urgent discoveries of linguistic strategies that rupture such collectivization of silence and prohibition.<br>From the perspective of the bourgeois division of labor (with its assignment of cultural specializations and its principles of condensing talents in chosen individuals, and investing them with mythical expertise), <u>the capacity to rupture the collectively imposed interdiction of subjective speech has been identified conventionally as ‘poetry’ within the domain of language, and as ‘art’ within the realm of visual representation or alternate percep- tual models of object experience.</u>
</blockquote>
<br>
==Poet's dilemma: two contradictory task==
* '''Undermining the vast number of socially produced simulacra and substitutions'''
: 19세기 후반부터 신문, 광고, 인쇄매체, 이후 대중 미디어가 급격히 발전하면서, 사람들은 더 이상 직접적인 경험이 아니라 미디어가 제공하는 간접적 경험을 소비하게 됨. 즉, 사람들은 자신이 경험한 것이 아니라, 매체가 보여준 이미지와 이야기를 경험한 것처럼 착각하게 됨. 이러한 미디어적 경험(대체적 경험)은 시뮬라크르(실제 경험의 모사품)에 불과함. 시인들은 이 상황에서 진짜 경험을 되찾기 위한 새로운 언어적 개입 방식을 찾아야만 했다.
: ↘︎ 사람들이 광고와 미디어가 만들어낸 언어적 세계만을 받아들이게 되면, 시와 같은 언어 예술은 어떻게 존재할 수 있을까?<br>↘︎ 시인은 언어를 통해 이 거짓된 현실을 무력화해야 한다.
<br>
* '''Leaving the ‘spaces of exemption’'''
: 기존의 ‘면제 공간’에서 벗어나야 한다. 전통적인 문화가 제공했던 자유로운 예외 공간(gratuitous spaces)이 급속히 사라지면서, 개입은 이제 대중 매체의 영역 안에서 이루어져야 하게 됨. 과거에는 시인들이 자유롭게 실험할 수 있는 공간이 존재했음.
: 예: 문학 살롱, 서적, 문예지 등은 상업적 미디어의 영향 없이 자유롭게 창작할 수 있는 ‘예외적 공간’이었음. 하지만 19세기 후반부터 이런 공간이 급속히 사라짐. 신문, 광고, 대중잡지 등의 상업적 매체가 문학과 예술을 압도하기 시작함. 이제 대중은 "순수한 문학"이 아니라, 미디어가 제공하는 ‘빠르고 소비하기 쉬운 언어’에 익숙해짐. 따라서 시인들은 더 이상 보호받는 문학 공간에서 활동할 수 없으며, 대중 미디어의 환경 속에서 시를 해야 하는 상황이 됨.
: ↘︎ 이제 시인들은 기존의 보호된 공간을 벗어나, 신문·광고·라디오 같은 대중 매체 안에서 싸워야 한다.<br>↘︎ 과거처럼 문학 잡지에서만 활동할 것이 아니라, 대중 매체 속에서 새로운 언어 실험을 해야만 했다.
<br>
* '''Stéphane Mallarmé'''
<blockquote>
Rather, from now on, as Stéphane Mallarmé was the first to recognize, '''these interventions had to operate at the very sites and within the very patterns of speaking and reading where the subject’s silences and the collective reification of language were socially encrypted: in the newspapers where the industrialized and instrumentalized forms of linguistic production were touted as promises of universal ‘information’ and ‘communication’ (to be replaced in the twentieth century by the new technologies of media culture, radio, advertising and industrial music).''' What might have been at one point the communal conversations of social groups would now be performed by professional ‘speakers.’
</blockquote>
: 그는 언어가 개인의 경험을 표현하는 도구가 아니라, 미리 정해진 기계적인 구조로 변하고 있음을 인식함. 즉, 사람들이 자신의 생각을 표현하는 것이 아니라, 기존의 언어 체계를 따라 말하게 됨.
: 주체의 침묵과 언어의 집단적 물화가 사회적으로 암호화된 장소. 특히, 신문이 이런 현상의 대표적인 예였다.
: 말라르메는 신문과 같은 미디어가 언어를 기계적으로 생산하고, 사람들을 특정한 방식으로 말하게 만든다고 보았다.
: ↘︎ 사람들은 자신의 경험을 말하는 것이 아니라, 언론이 만들어낸 언어를 반복하는 것이다.
<br>
* '''industrial voices of the ‘experts’'''
* '''prefabricated idioms'''
<br>
==Why the house?==
'''“집”은 오랫동안 주체의 언어적 정체성이 형성되는 핵심적 개념이었으며, 정신분석학에서도 인간 주체성과 긴밀히 연결된 공간적 상징으로 기능했다.<br>언어가 곧 인간의 사고와 존재를 형성하는 구조적 공간.'''
"Language is the house of Being", Martin Heidegger
: ↘︎ so Knowles transformed the concept of 'home' into a space for algorithmic and linguistic experimentation.<br>↘︎ using computer programs to generate random 'homes', she shifted the idea of home from a fixed concept to a fluid structure.<br>↘︎ Home is no longer just a physical space but really became a linguistic and process-driven concept.
<br>
==House of Language==
===A tension between the concept of “home” and mechanical enumeration===
If a space that shapes personal identity is randomly generated through mechanical operations, can it still be considered a real home?
: ↳ Knowles saw the mechanically generated “home” as a space where language itself becomes the foundation for constructing subjective identity.
:: ↳ In this process, the home is no longer a fixed space of identity but instead becomes a fluid, changing structure shaped by algorithms.
<br>
The house of language is a system made up of phonetic, lexical, grammatical, and syntactic structures --it existed long before we were born and will keep running long after we’re gone.
: ↳ We’re born into a language system that already exists, and our way of thinking is shaped within it.
:: ↳ In a way, language is its own thing--an independent structure that exists beyond any one person’s identity.
<br>
Language as both a foundation and an infinite System
: ↳ Through language, we think, express ourselves, and make sense of the world.
:: ↳ language provides a structured framework while remaining flexible enough for infinite transformations and reinterpretations.
<br>
=="The Prison House of Language"==
↘︎ Nietzsche defined language in this way.
: ↳ One of Nietzsche’s concepts suggests that the subject’s desire to find a “home” within language ultimately leads to bodily and mental subjection (oppression).
* 언어는 국민국가(nation-state)와 같은 거대한 제도의 규범을 내면화한 공간이다.
* 따라서, 주체는 언어 규범, 관용 표현, 어휘적 가용성(lexical availability) 등의 엄격한 체계에 종속된다.
* 언어 속에서 ‘집에 있는 느낌’을 가장 강하게 경험하는 순간, 사실은 가장 깊은 편견과 거짓된 신념 체계를 받아들이는 순간일 가능성이 크다.
: ↳ 즉, 언어는 억압적이고 자기기만적인 질서를 제공하는 동시에, 사회적으로 동원된 불합리성(irrationality)의 기반이 될 수도 있다.
Language is a structure that justifies all moral and ideological beliefs, as well as fixed orders. So, to free the subject, we need to constantly break down the rigidity and confinement of language.
===How to escape the prison: endless creation and deconstruction===
in house of dust, subject formation is framed as an ongoing process of construction and deconstruction.<br>
<br>
'''How does it resist linguistic confinement?'''
* refuses to be bound by fixed linguistic structures.
* does not reduce language to a belief system.
* ensures that subject formation is not dictated by a single system.
→ language served as the primary foundation for shaping subjectivity<br>
→ but language can no longer be the sole basis for identity formation.
<br><br>
==the List==
in the 1960s, some conceptual artists actively embraced the “list” as a new linguistic form, rejecting the lyricism and expressiveness(?) of traditional poetic language.<br>
'''e.g'''
: Lawrence Weiner – Statements (1969) <Br> Ed Ruscha – Twentysix Gasoline Stations (1963) <br> Richard Serra – Verb List (1967-68)<br>
'''why?'''<br>
from traditional art, conceptual art shifted its focus from creation to '''structural manipulation''' and '''linguistic intervention.'''<br> #Oulipo #Georges Perec
<blockquote>
The list as an anti-literary and anti-poetic form could credibly claim to be merely the indexical accounting of accumulated qualities or serially aligned objects, '''taking on the guise of a readymade text that might have been generated, if not written, by these objects themselves.'''
</blockquote>
↘︎ it's funny because a list is just a sequence of objects, like he wrote, it can appear as if it was not created by a person but rather generated by the objects themselves. I like this expression.
<br><br>
<blockquote>
...Equally, in their choice of materials, both Knowles and Weiner '''alternate rapidly from the most peculiar to the most common, seemingly in order to avoid predictability or systematicity of any kind, and in order to achieve the type of non-taxonomy''' that Borges famously invented in his description of a Chinese encyclopedia.
</blockquote>
↘︎ this is a great lesson, sometimes it feels like what makes poetic is a tension between words, a constant push and pull between the familiar and the unexpected. Knowles and Weiner’s approach remind me that meaning emerges not just from the materials themselves but from the unpredictable relationships they form. ↘︎
Knowles’ lists, which he provided to James Tenney, may seem to emphasize indeterminacy at first glance, but in reality, they contained distinctly poetical elements.<br><br>- 4개의 언어적 범주는 극단적으로 이질적인 요소들을 포함하도록 설계되었다. 따라서, The House of Dust의 시구는 전통적인 어휘적·의미적 패턴을 따르지 않으며, 매번 새로운 조합을 생성했다.<br><br>- 문법적 구조는 필연적으로 일정한 논리를 따르지만, 각 시구에서 단어들의 배열 방식은 의미적 일관성을 유지하지 않았다. 이는 의미의 확산과 분산(lexical dissemination)을 강화하는 방식으로 작동했다.<br><br>- 전통적인 건축 재료(벽돌, 돌, 강철, 유리)와 이질적인 재료(버려진 옷, 낙엽, 모래, 종이, 잡초, 뿌리, 깨진 접시)를 동시에 나열했다. 이는 건축과 개념미술 사이의 경계를 허무는 장치로 작동하기도 한다.
<br>
===aesthetics of administration, green striated paper, sprocket holes===
1960년대 후반 개념미술가들이 관료적 문서 형식과 데이터 수집 방법론을 차용했던 것처럼, 놀스의 시 역시 관리 체계의 물리적 형태를 차용하면서도 그 구조를 조롱하는 성격을 가진다.<br>
또한, 출력물을 펼쳐 읽으면, 이 시는 처음과 끝이 없는 두루마리처럼 작동한다. '''이는 전통적인 서사의 시간적·공간적 경계를 제거하는 방식과 연결된다.'''
<blockquote>
Unfolding the sheets in order to read the ‘poem’, one becomes aware that '''the printout functions like a scroll without beginning or end, as is only appropriate for a poem that does not know either of these traditional ordering principles (there is neither a first nor a last quatrain, quite simply, and every printout of the poem begins and ends with a different page of quatrains).'''<br><br>The House of Dust has consciously jettisoned the traditional spatio-temporal demarcations of textual structures. Instead of turning pages, we read by folding and scrolling a textual band (in this respect the poem anticipates the radical transformation of the reading order that computers have brought about in general). The effect of a textual rotation results from the semblance of limitless permutations, as much as from the seemingly endless number of possible and different printouts.<br><br>As for its distribution form and presentational devices, <u>it is important to recognize that The House of Dust as a book is equally open ended, refusing to have been bound, and the folds of the printout paper determine the sequence of pages, not the cuts of the page or the binding of the book. It is only appropriate then for the poem to appear in a transparent plastic pouch, a container within which one would usually carry a set of maps or construction plans.</u>
</blockquote>
<br>
==Electronic permutations and linguistic deconstruction==
===Decentering of poetic experience===
In the house of dust, Alison Knowles amplifies the contrast between '''random yet highly deterministic electronic permutations''' and her own (perhaps unintentional?) '''poetic choices.'''<br>↘︎ 이러한 조합에서 발생하는 모순적인 다양성은 주체의 경험을 완전히 탈중심화하는 결과를 초래한다.
* No particular material, location, or inhabitant takes precedence.
<br>
* 컴퓨터가 무작위적으로 조합한 언어적 요소들을 통해, 특정한 의미 중심을 두지 않고 의미를 생성하는 방식
: ↳ 특정한 메시지를 의도적으로 전달하는 것이 아니라, '''알고리즘적 조합을 통해 생성된 순간순간의 언어적 관계를 경험하는 것'''.
<br>
* '''The coexistence of mechanical structures and the unpredictability of poetic moments.'''
<br>
* Each element interacts on equal terms, continuously generating an entirely new spectrum of meaning at every moment.
: ↳ As a result, individual “poetic” linguistic moments remain in a state of '''constant fluctuation''' rather than settling into fixed meanings.
: ↳ Through its '''perpetually transforming mutual and modular relationships''', house of dust creates '''the process of elements redefining one another.'''
:: ↳ 이 프로젝트의 목적은 특정한 의미를 전달하는 것이 아니라, ‘의미가 형성되는 과정’을 보여주는 것.
+ Alison Knowles was one of the first artists to really embrace advanced electronic technology in her work. this goes to show that modern subject formation is inevitably tied to technology.
<br>
==Concept of the subject and the house of dust==
* plurality of positions
* discontinuity of functions
'''"subjectivity as something that is always in a state of disappearance and becoming."'''<br>#Maurice Blanchot --I remember trying to read one of his book "The Space of Literature" and then immediately gave up. I should try again.
1. Language no longer provides a fixed identity.<br>
2. Subject formation must exist as a continuously deconstructing process (perpetual transformation).<br>
3. Linguistic structures are fluid and can be constantly reshaped through technology.<br>
4. Individual poetic moments do not hold fixed meanings; they exist within a relational network, constantly reconstructing one another.

User:Neoksaal/Personal Reader/What the Luddites Really Fought Against

Neoksaal — Tue, 21 Jul 2026 17:45:16 GMT

Created page with "[https://www.smithsonianmag.com/history/what-the-luddites-really-fought-against-264412/ What the Luddites Really Fought Against by Richard Conniff, 2011]<br> it's a great gateway article to explore what the Luddites are and who they were.<br><br> also look for,<br> [https://en.wikipedia.org/wiki/Luddite wikipedia, Luddite]<br>[https://en.wikipedia.org/wiki/Neo-Luddism Neo-Luddism]<br> Against Technology: From the Luddites to Neo Luddism, Steven E. Jones<br> Writings of t..."

New page

[https://www.smithsonianmag.com/history/what-the-luddites-really-fought-against-264412/ What the Luddites Really Fought Against by Richard Conniff, 2011]<br>
it's a great gateway article to explore what the Luddites are and who they were.<br><br> also look for,<br> [https://en.wikipedia.org/wiki/Luddite wikipedia, Luddite]<br>[https://en.wikipedia.org/wiki/Neo-Luddism Neo-Luddism]<br>
Against Technology: From the Luddites to Neo Luddism, Steven E. Jones<br>
Writings of the Luddites, Kevin Binfield<br>
Breaking Things at Work: The Luddites Are Right About Why You Hate Your Job, Gavin Mueller<br>
blood in the machine: the origins of the rebellion against big tech, Brian Merchant
<br><br><br>
<blockquote>
Despite their modern reputation, the original Luddites were neither opposed to technology nor inept at using it. Many were highly skilled machine operators in the textile industry. Nor was the technology they attacked particularly new. Moreover, the idea of smashing machines as a form of industrial protest did not begin or end with them. '''In truth, the secret of their enduring reputation depends less on what they did than on the name under which they did it. You could say they were good at branding.'''
</blockquote>
===the Luddites weren't the only ones who destroyed machines, they were exceptionally good at branding===
<br>
[[File:Luddite.jpg|thumb|General Ludd dresses as woman]]
[[File:Image general ludd.jpg|thumb|Luddite ticket]]
* '''they weren't against technology'''<br>
: according to Wikipedia, nowadays, the term "Luddite" often is used to describe someone who is opposed or resistant to new technologies. but the original Luddites of the early 19th century weren’t against new technology itself. Their real issue was how it was being misused.
: They were skilled machine operators in the textile industry, and their protests weren’t just about destroying machines for the sake of it. They were fighting against manufacturers who were using machines to impose unfair working conditions.
<blockquote>
As the Industrial Revolution began, workers naturally worried about being displaced by increasingly efficient machines. But the Luddites themselves “were totally fine with machines,” says Kevin Binfield, editor of the 2004 collection Writings of the Luddites. They confined their attacks to manufacturers who used machines in what they called “a fraudulent and deceitful manner” to get around standard labor practices. “They just wanted machines that made high-quality goods,” says Binfield, “and they wanted these machines to be run by workers who had gone through an apprenticeship and got paid decent wages. Those were their only concerns.”
</blockquote>
<br>
* '''the machine they destroyed werenb't even new'''<br>
: the stocking frames they smashed had been around for nearly 200 years by then. their actions weren’t just a automatic reaction to new technologies, but a response to social and economic frustrations.<br><br>
* '''they weren't the only ones destroying machines'''<br>
: even before and after the Luddites, destroying machines was a common form of resistance to industrial change. Similar incidents happened in late 18th-century Britain and France, where workers reacted to technological shifts in more or less the same way.<br><br>
* '''the good branding'''
: the Luddites adopted the fictional character ‘Ned Ludd’ as their symbolic leader. He was portrayed as a legendary figure, and his name was used to sign threatening letters sent to factories or to lead protests. which played a crucial role in the movement's unity and identity.<br><br>
: the execution of machine-breaking was pretty dramatic too. they did it in a rather theatrical way by using a massive hammer called the “Great Enoch,” linking it to local legends. with the catchy slogan: "Enoch made them, and Enoch shall break them". which is pretty genious. giving a tool of destruction its own story turns what could've been seen as simple vandalism into something way bigger and cultural. super cool.<br><br>
: they framed their protest as social satire too, by using sybolic actions such as marching in women's clothing and distributing witty, satirical pamphlets.
<blockquote>
<u>This knack for expressing anger with style and even swagger gave their cause a personality.<br>
'''Luddism stuck in the collective memory because it seemed larger than life.'''</u><br>
And their timing was right, coming at the start of what the Scottish essayist Thomas Carlyle later called “a mechanical age.”
</blockquote>
<br>
==="The indignation of nineteenth-century producers, has yielded to the irritation of late-twentieth-century consumers."===
wrote the historian Edward Tenner. this is a very interesting insight, it points out that our attitude towards technology has changed significantly.
for the 19th century Luddites, the threat of technology and its misuse was something worth fighting against, while putting their life on the line. because it really was a matter of survival and keeping livelihood, they believed that technology was disrupting the existing social and economic order.<br><br>and now, late 20th century onwards, consumers accepted technology as an inevitable element that could not be rejected. and the response is limited to expressing dissatisfaction with the inconveniences and side effects it brings.

==Question==
<blockquote>
The original Luddites lived in an era of “reassuringly clear-cut targets—machines one could still destroy with a sledgehammer,” Loyola’s Jones writes in his 2006 book Against Technology, making them easy to romanticize.<br><br>
<u>By contrast, our technology is as nebulous as “the cloud,” that Web-based limbo where our digital thoughts increasingly go to spend eternity. It’s as liquid as the chemical contaminants our infants suck down with their mothers’ milk and as ubiquitous as the genetically modified crops in our gas tanks and on our dinner plates.<br><br>
'''Technology is everywhere, knows all our thoughts and, in the words of the technology utopian Kevin Kelly, is even “a divine phenomenon that is a reflection of God.” Who are we to resist?'''</u>
</blockquote>
my god
<blockquote>
The original Luddites would answer that we are human. '''Getting past the myth and seeing their protest more clearly is a reminder that it’s possible to live well with technology—but only if we continually question the ways it shapes our lives.'''<br><br>
It’s about small things, like now and then cutting the cord, shutting down the smartphone and going out for a walk. But it needs to be about big things, too, like standing up against technologies that put money or convenience above other human values.<br><br>
If we don’t want to become, as Carlyle warned, “mechanical in head and in heart,” it may help, every now and then, to ask which of our modern machines General and Eliza Ludd would choose to break. And which they would use to break them.
</blockquote>

File:Luddite.jpg

Neoksaal — Tue, 21 Jul 2026 17:45:01 GMT

Neoksaal uploaded File:Luddite.jpg

New page

File:Image general ludd.jpg

Neoksaal — Tue, 21 Jul 2026 17:43:33 GMT

Neoksaal uploaded File:Image general ludd.jpg

New page

User:Neoksaal/Personal Reader/Beyond Follows: Trust In Computing

Neoksaal — Tue, 21 Jul 2026 17:40:59 GMT

Created page with "[https://march.international/beyond-follows-trust-in-computing/ Beyond Follows:Trust in Computing by Sarah Friend] <br>(also look for: Computing with Trust: Definition, Properties, and Algorithms by Jennifer Golbeck)<br><br>Recommended by Manetta, I really like the text. It overlaps with my interest in how technology is designed to shape our trust in information from journalistic media to online communities, and its consequence. The text analyzes how we build and show t..."

New page

[https://march.international/beyond-follows-trust-in-computing/ Beyond Follows:Trust in Computing by Sarah Friend]
<br>(also look for: Computing with Trust: Definition, Properties, and Algorithms by Jennifer Golbeck)<br><br>Recommended by Manetta, I really like the text. It overlaps with my interest in how technology is designed to shape our trust in information from journalistic media to online communities, and its consequence.

The text analyzes how we build and show trust in the digital space, and how trust models change depending on how we consume information. author suggests that by examining network structures, we can notice common patterns across different technological contexts, which can lead to better model and understanding the choices we face. also
stresses the need for more elaborate systems to better reflect trust quality.

<blockquote>
Trust is a felt quality of human relations, ephemeral and changing.<br>To turn trust into data might seem wrong, like pinning the butterfly – but the butterfly is getting pinned all the time.<br><br> When you follow someone on Twitter or upvote someone’s post on Reddit, semantically these are both small gestures of trust for the person being followed or for the post. To parrot Guy Debord, '''social media is not a series of interactions with technology, it is a social relation among people, mediated by technology.'''
</blockquote>
<br><br>
=From reciprocal to directed trust=
<blockquote>
What has changed about us as people using the internet that leads from reciprocal to directed trust? <br><br>
When we see reciprocal trust in platforms created more recently, it is often because they make no attempt at being publicly browsable. Trust is still treated as reciprocal when we imagine the accounts we’re trusting as contacts; they map loosely onto “people” (i.e.,accounts) and are treated like an online extension of who we know in real life. <br><br>
<u>Trust is directed when we have shifted from trusting people to trusting information (or wanting to see content) shared by people. '''The shift from trusting people to trusting information, and from reciprocal to directed trust, may lead to increasing inequality in the distribution of attention.'''</u>
</blockquote>

=binary and weighted trust=
Binary form of trust, meaning trust is either present or it is not.<br>
We see binary trust on most major social media networks. I either follow you or I do not.
With this model, there is no gray middle ground of trust, and the platform allows no expressive potential for the quality of trust. <br><br>
The alternative is weighted trust, which most people are familiar with in the context of a rating system (like uber, amazon, even rotten tomato etc).

==PGP(pretty good privacy), Web of Trust==
<blockquote>
Possibly the oldest formalized example of a weighted trust network is also one of the oldest formalized trust networks, period. It’s called the web of trust and originated with PGP. Created in 1991, PGP stands for Pretty Good Privacy and is a tool for encrypting messages like emails. It was designed to be able to keep communication secret without a central authority to verify identity and therefore aid trust.<br><br>
'''This web of trust allows everyone to see who is trusted, and by whom, so they can better make decisions about which accounts to trust themselves.'''
</blockquote>

=global and local trust=
The concepts of “global trust” and “local trust” each have their own advantages and disadvantages.<br>(basically when the scope of trust is either too broad or too narrow)<br>also, they represent two perspectives on how we perceive and build trust in one another.<br><br>
'''글로벌 신뢰'''
* 네트워크의 전체적인 시각에서 특정 개인이나 정보의 신뢰도를 평가
* "누가 보더라도 신뢰할 수 있는 공통된 기준"을 의미하며, 글로벌 수준에서 검증된 정보(예: 유명 미디어, 공인 기관)를 포함
* 예: 구글에서 “신뢰할 만한 뉴스”로 표시되는 콘텐츠, 소셜미디어등에서 인증 배지를 받은 계정<br>
'''로컬 신뢰'''
* 네트워크 내에서 개별 노드(사용자)가 자신의 직접적인 관계를 통해 신뢰를 형성
* "개인의 경험과 관계를 바탕으로 한 신뢰"이며, 특정 집단이나 공동체에서만 신뢰할 수 있는 대상(예: 친구, 가족, 지역 커뮤니티)
* 예: 지역 커뮤니티의 추천, 친구 추천 시스템
비유하자면, 글로벌 신뢰는 "세계적으로 유명한 음식점의 평점"과 같고, 로컬 신뢰는 "내가 자주 가는 동네 맛집의 평판"과 같다.

===global trust and Sybil attacks===
<blockquote>
How might one calculate a global trust score? The simplest way would be to add up all the records of inbound trust and find an average, but this would be easy to manipulate. In the case of PageRank, that could look like creating thousands of simple web pages that do nothing but link back to a page you’re trying to boost.<br>
<u>Attempts to hijack a network and artificially inflate the seeming importance of one node are called, in the general form, '''Sybil attacks'''. Any system that wants to use a global trust score must have defenses against them.</u><br><br>Sybil attacks are the reason some blockchains use energy-intensive mining algorithms, or proof of work. The high energy use makes the creation of many “fake” identities useless, since ability to control the network isn’t tied to the
quantity of fake identities but instead to their computational power, which has a material cost. While there are, of course, environmental externalities outside the scope of this article and also alternate solutions to the Sybil problem, proof of work is one of the ways to make this kind of attack prohibitively expensive.
</blockquote>

==transivity and subjectivity==
<blockquote>
Each node in a network has a location and a local view of trust. We can think of the utility of shifting between global and local as '''a question about “how transitive we think trust is”''' and, secondarily, '''what kinds of subjectivities are involved in the network’s particular semantic meaning of trust.'''
</blockquote>
===전이성===
'''A가 B를 신뢰하고, B가 C를 신뢰한다면, A도 C를 신뢰할 수 있을까?'''
if I trust you, do I also trust the people you trust?<br>Or do I trust them less than I trust you, but still a little?<br>'''How many levels outward does my trust ripple before it has fully dissipated?'''
'''글로벌 신뢰의 전이성'''
* 글로벌 신뢰 모델에서는 특정 신뢰할 만한 기관(정부, 대기업, 미디어)이 신뢰하면, 다수의 사람들이 이를 자동으로 받아들인다. 그러나 신뢰의 전이성이 강하면 검증 없이 잘못된 정보가 확산될 위험이 있음.
<br>
'''로컬 신뢰의 전이성'''
* 로컬 신뢰는 관계 기반으로 형성되므로 전이성이 제한적이다. ("내 친구가 추천한 사람을 신뢰할 수 있을까?" - 직접적인 경험이 없으면 신뢰하지 않을 가능성이 큼). 신뢰의 범위가 제한적이며 새로운 관계 형성이 어려울 수 있음.
신뢰의 전이성을 높게 평가할수록 글로벌 신뢰는 강해지고, 반대로 전이성이 낮다면 로컬 신뢰의 중요성이 더 커지게 된다.

===주관성===
'''신뢰는 매우 주관적인 요소를 포함하며, 그 의미가 사람마다 다를 수 있다.'''
<br><br>
'''글로벌 신뢰의 주관성 문제'''
* 글로벌 신뢰는 다수의 평가나 공통된 기준을 따르기 때문에, 개개인의 가치나 선호가 무시될 수 있다. 문화적 차이와 개인의 신념이 반영되지 않는 획일적 모델이기 때문. 가령, 글로벌한 신뢰 점수가 높은 인물이 특정 문화권에서는 신뢰받지 못할 수 있는 것과 같음(유명 정치인이 특정 국가에서만 불신받는 경우).
<br>
'''로컬 신뢰의 주관성 문제'''
* 로컬 신뢰는 개인적 경험에 의해 형성되므로 객관성이 부족할 수 있다.(가령, 특정 그룹에서는 잘 알려진 사람이지만, 다른 커뮤니티에서는 완전히 신뢰할 수 없는 존재일 수 있는 경우) 이는 신뢰의 적용 범위가 제한되며, 외부인에게 신뢰를 확장하기 어려움.
<br><br>
=questions=
overall, the problem of local trust is that range is very limited, also could easily create filter bubble.<br>whereas global trust is fast spread and has wide range of coverage but it flattens individuality.
<blockquote>
It seems possible that too much globality in terms of trust leads to loss of granularity and silencing of difference, and too much locality leads to a disturbing filter-bubble effect.<br><br>
'''Some questions: Is a possible mitigator of polarization to make trust more transitive? And more philosophically, is the concept of a global trust score in some ways always embedding a singular concept of truth into the systems that use it?'''
</blockquote>
==can increasing trust transitivity mitigate polarization?==
==does a global trust score inherently embed a singular concept of truth?==

User:Neoksaal/Personal Reader/Cybernetics and Ghosts

Neoksaal — Tue, 21 Jul 2026 17:40:19 GMT

Created page with "Italo Calvino's essay written in 1967, recommended by Thijs.<br> I absolutely love this text. it’s so beautifully written and indeed very helpful in shedding light on my project(s). it touches on some aspects that have been lingering abstractly in my head. =The combinatorial play of narrative possibilities= : ♥︎ <blockquote> Just as no chess player will ever live long enough to exhaust all the combinations of possible moves for the thi..."

New page

Italo Calvino's essay written in 1967, recommended by Thijs.<br>
I absolutely love this text. it’s so beautifully written and indeed very helpful in shedding light on my [[User:Zuhui/SI26/Peekaboo |project(s)]]. it touches on some aspects that have been lingering abstractly in my head.
=The combinatorial play of narrative possibilities=
: ♥︎
<blockquote>
Just as no chess player will ever live long enough to exhaust all the combinations of possible moves for the thirty-two pieces on the chessboard, so we know (given the fact that our minds are chessboards with hundreds of billions of pieces) that not even in a lifetime lasting as long as the universe would one ever manage to make all possible plays. But we also know that all these are implicit in the overall code of mental plays, according to the rules by which each of us, from one moment to the next, formulates his thoughts, swift or sluggish, cloudy or crystalline as they may be.
</blockquote>

<br>
<br>
=="I" as an apparatus==
<blockquote>
'''Literature as I knew it was a constant series of attempts to make one word stay put after another by following certain definite rules'''; or, more often, rules that were neither definite nor definable, but that might be extracted from a series of examples, or rules made up for the occasion-that is to say, derived from the rules followed by other writers.
<br>
<br>
And in these operations the person "1," whether explicit or implicit, splits into a number of different figures: into an "I" who is writing and an "I" who is written, into an empirical "I" who looks over the shoulder of the "I" who is writing and into a mythical "I" who serves as a model for the "I" who is written.<br>
'''The "I" of the author is dissolved in the writing. The so-called personality of the writer exists within the very act of writing: it is the product and the instrument of the writing process.'''
</blockquote>
yes the author is dead, which aligns with the self-reflexivity in modern literature:<br>
* writing is no longer just about telling a story, it’s about speaking with the awareness that I am telling a story right now.
* the content of the words and the act of speaking collapse into one, where the writing process itself becomes the content.
:: ↳ in this sense I really enjoyed reading [https://monoskop.org/images/f/f7/Roland_Barthes_Roland_a_lover_s_discourse_1978.pdf ''The Lover's Discourse'' by Roland Barthes].
::: → <mark>here, the author is not a person but a linguistic presence, just occupying a specific position within the writing.</mark>
::: → <mark>it’s not the person behind “I” that matters, but rather how “I” functions within the language.</mark>
::: → <mark>the word “I” no longer refers to the actual author; it’s a grammatical marker, a structural element playing its role in the sentence.</mark>
by removing the author as an authority, self-reflexive writing reveals the act of storytelling itself. making the way how the story is told is just as important as the story itself.<br>
글쓰기 자체가 구조적 시스템이라면, "I"는 그 시스템이 작동하는 메커니즘 중 하나이다.
<br><br>
===Reader's role===
<blockquote>
Once we have dismantled and reassembled the process of literary composition, the decisive moment of literary life will be that of reading. '''In this sense, even though entrusted to machines, literature will continue to be a "place" of privilege within the human consciousness, a way of exercising the potentialities contained in the system of signs belonging to all societies at all times. The work will continue to be born, to be judged, to be destroyed or constantly renewed on contact with the eye of the reader.'''
</blockquote>
if the author is just one of the mechanism that functions within the system of structural system of writing, this alters the role of the reader.
: <mark>now the reader has to focus on how language reveals itself, the self-reflexivity of the narrative and the way the structure of writing reveals the meaning.</mark>

==The literature machine==
<blockquote>
will we also have machines capable of conceiving and composing poems and novels?
<br><br>
<u>The interesting thing is not so much the question whether this problem is soluble in practice-because in any case it would not be worth the trouble of constructing such a complicated machine-'''as the theoretical possibility of it, which would give rise to a series of unusual conjectures'''.</u> And I am not now thinking of a machine capable merely of "assembly-line" literary production, which would already be mechanical in itself.
<br><br>
I am thinking of a writing machine that would bring to the page all those things that we are accustomed to consider as the most jealously guarded attributes of our psychological life, of our daily experience, our unpredictable changes of mood and inner elations, despairs and moments of illumination.
</blockquote>
now AI can write poems and novels, but not in the way Calvino imagined.<br>
I totally agree with Calvino that '''what really matters isn’t what the machine can do or the technology itself, but what it’s theoretically capable of, the bigger ideas and possibilities behind it.'''
The true literature machine will be one that itself feels the need to produce disorder.
<br>
: ♥︎
<blockquote>
...<br>
To gratify critics who look for similarities between things literary and things historical, sociological, or economic, the machine could correlate its own changes of style to the variations in certain statistical indices of production, or income, or military expenditure, or the distribution of decision-making powers. That indeed will be the literature that corresponds perfectly to a theoretical hypothesis: it will, at last, be the literature.
</blockquote>
<br>
=The unconscious is the ocean of the unsayable=
우리가 어떤 것을 모른다고 말할 때, 그것은 아직 그 자리에 사용된 적 없는 단어와 개념들이, 그 순서로, 그 의미로 배치된 적이 없기 때문이다.
==Myth and Fable==
<br>
'''Myth'''
* Calvino describes myth as the hidden part of story. deep, unconscious layer that has not been expressed through language
* it also refers to taboos, silences, and things that can't be fully expressed due to social norms or political reason and what not
* it requires rituals, symbols, and special time and place to be passed down
* it exists in silence also, shaping everyday stories in ways we don't necessarily always notice
<br>
'''Fable'''
* fable gives myth a palpable, concrete form. it turns hidden part into a structured narrative
* while myth remain silent and buried, fable gives it a shape and expression
* fable is always influenced by myth, which operates within its structure in a cyclical, repetitive way
: ↳ when a fable tries to move in a new direction, myth pulls it back
:: ↳ meaning fable follows deeper mythological patterns and structures
<br><br>
The power of modern literature lies in its willingness to give a voice to what has remained unexpressed in the social or individual unconscious: this is the gauntlet it throws down time and again.
* 신화는 말로 다 표현할 수 없는 원초적인 이야기의 근원이고, 우화는 그것을 이야기로 구체화하고 형식화하는 과정이다.<br>그러나 신화는 우화속에서 보이지 않는 방식으로 계속 작동하며, 우화의 흐름을 조종하거나 되돌린다.
* 문학은, 이러한 신화적 요소를 발견하고, 금기의 경계를 넘어서 말할 수 없던 것을 말하는 시도로 작동한다.
<br><br>
===Fable and Side Narrative===
fable and side narrative are not exactly the same thing, however fable can operate as side narrative.<br>
* 우화는 신화의 요소를 이야기로 구체화하는 장치이며 독립적인 구조를 가진 이야기일 수도 있고 주요 서사의 일부일수도 있음. 그러나 부차적서사는 주요서사와의 관계속에서만 작동하는 이야기임.
: ↳ 모든 우화가 부차적 서사인 것은 아니고, 특정한 맥락에서 우화가 주요서사를 보완하거나 균열을 만드는 방식으로 작동할 때, 부차적서사와 비슷한 기능을 할 수 있음.

# 주요 서사와 독립적으로 병치될 때
# 메인 내러티브에 대한 메타포로 작동할 때
# 서사의 흐름을 방해하거나 방향을 바꿀 때

==Freudian word-play==
as the key to a possible aesthetics of psychoanalysis, developed by Ernst Kris, Ernst Gombrich.
<blockquote>
The pleasure of puns and feeble jokes is obtained by following the possibilities of permutation and transformation implicit in language.<br>
...<br>
'''that the juxtaposition of concepts that we have stumbled across by chance unexpectedly unleashes a preconscious idea''', an idea, that is, half buried in or erased from our consciousness, or maybe only held at arm's length or pushed aside, but '''powerful enough to appear in the consciousness if suggested not by any intention on our part, but by an objective process'''.
</blockquote>
<br>
<blockquote>
At a certain moment things click into place, and one of the combinations obtained-through the combinatorial mechanism itself, independently of any search for meaning or effect on any other level-becomes charged with an unexpected meaning or unforeseen effect which the conscious mind would not have arrived at deliberately: an unconscious meaning, in fact, or at least the premonition of an unconscious meaning.
</blockquote>
<br><br>
==Ghosts==

User:Neoksaal/Personal Reader/Lynette Yiadom-Boakye

Neoksaal — Tue, 21 Jul 2026 17:39:32 GMT

Created page with "=Painting restraint= =Mark-making= <blockquote> I love the fact that the act of mark-making and the materials themselves become the meaning, or hold up the meaning. How can one read the smudging or the blurring of a line into another line, or a color into another color? Or see the strength in a drawn line on the canvas or the underpainting coming through? All of these things become what that painting its meaning. </blockquote> =Series effect= ="Suggestion is the dre..."

New page

=Painting restraint=

=Mark-making=
<blockquote>
I love the fact that the act of mark-making and the materials themselves become the meaning, or hold up the meaning. How can one read the smudging or the blurring of a line into another line, or a color into another color? Or see the strength in a drawn line on the canvas or the underpainting coming through? All of these things become what that painting its meaning.
</blockquote>

=Series effect=

="Suggestion is the dream"=

=Ambiguity=

=Fiction & Representation=

User:Neoksaal/Personal Reader/Experimental Translation

Neoksaal — Tue, 21 Jul 2026 17:38:29 GMT

Created page with "="The sign is dead"= * If language is reduced to just data, where does meaning actually come from? * Is the difference between human translation and machine translation purely technical, or is there a deeper, more ‘philosophical’ aspect to it? ==MT - SMT - NMT== '''In early stage of machine translation, rule-based MT did not work'''<br> Languages are too complex and diverse to be reduced to fixed rules.<br> ↓<br> '''Algorithms based on habit: SMT'''<br> SMT analyze..."

New page

="The sign is dead"=
* If language is reduced to just data, where does meaning actually come from?
* Is the difference between human translation and machine translation purely technical, or is there a deeper, more ‘philosophical’ aspect to it?
==MT - SMT - NMT==
'''In early stage of machine translation, rule-based MT did not work'''<br>
Languages are too complex and diverse to be reduced to fixed rules.<br>
↓<br>
'''Algorithms based on habit: SMT'''<br>
SMT analyzes large-scale human translation data to learn patterns and calculates the likelihood of certain phrases or words being translated a specific way. so more flexible and capable of reflecting linguistic complexities compared to rule-based systems.<br>
↓<br>
'''NMT and word vectors'''<br>
NMT is a significant advancement over SMT. it uses these vectors to perform translations by aligning and transforming relationships across languages.
* NMT는 단순히 외국어를 "이상한 기호"로 보고 이를 해독하는 방식이 아니다: SMT는 과거 데이터에 기반한 단순 확률 계산을 사용했지만, NMT는 언어 내부의 복잡한 연산을 통해 두 언어 간의 관계를 설정하고 이를 상호작용으로 발전시키기 때문.
{|align=right
|{{youtube|NEreO2zlXDk}}
|}
'''Tokens and Vector Embeddings'''<br>
A '''token''' is the smallest unit into which text is broken down for processing in tasks like machine translation.<br><br>• Tokens can be words, prefixes/suffixes, or even specific characters.<br>• These tokens are then converted into numerical data that machines can process. <br>• '''[https://nlp.stanford.edu/IR-book/html/htmledition/tokenization-1.html#:~:text=A%20token%20is%20an%20instance,containing%20the%20same%20character%20sequence Tokenization]'''<br><br><br>'''Vector embedding''' is a technique that represents each token as coordinates in a multidimensional space.<br><br>• The machine learns the relationships between words using these coordinates.<br>• Each word is represented as a vector, which captures how it relates to other words.<br><br><br>'''Word Window'''<br>analyzes how often a specific token appears near other tokens in a given range of text.<br>• Usually, a word window spans 3–15 words.<br><br><br>'''Multidimensional Vector'''<br>Vectors represent the relationships between words <u>mathematically</u>. Each token is expressed as a vector in a multidimensional space. These vectors represent:<br><br>• The likelihood of a specific word appearing alongside others.<br>• The similarities and differences between words.<br><br>Vectors aren’t just limited to two or three-dimensional representations. In tasks like machine translation, <u>vectors typically span hundreds of dimensions.</u>
* 이런 방식으로 벡터는 언어적 네트워크를 형성하며, 이를 통해 복잡한 의미와 맥락을 파악할 수 있게 된다: 벡터 공간은 각 단어가 단순히 특정 단어와의 관계뿐 아니라, 다른 단어들과 맺는 모든 관계를 함께 고려하기 때문.
* 벡터 임베딩은 기계 번역이 단어의 단순한 치환을 넘어, 단어의 맥락과 의미적 관계를 이해하게 만드는 핵심 기술이 됨.
* NMT는 단순한 번역 이상의 작업: 언어 간의 대화와 상호작용을 가능하게 하는 새로운 번역 방식을 열어준다.

===Spacey emptiness, Gayatri Spivak===
'''"spacey emptiness"''' as introduced by Gayatri Spivak refers to the '''gaps, voids, or untranslatable spaces between languages''' that cannot be bridged by simple word-for-word translations.<br><br>
'''why does this gap exists?'''<br>languages are products of unique cultural, historical, and social contexts. These contexts shape how meaning is expressed, and they often don't have exact parallels in other languages.<br><br>
'''why does this gap HAS to exist?'''<br> Spivak says that trying to completely eliminate the gap between languages risks suppressing diversity. Instead, the "spacey emptiness" should be seen as an opportunity for richer, more creative interactions.<br>
스피박은 번역을 단순한 변환이 아니라 언어와 언어 간의 대화로 간주한다. 이는 NMT가 이는 공허한 공간을 억지로 지우는 대신, 각 언어의 독특한 의미 체계와 구조를 존중하는 방식과 맞닿아 있다. NMT또한 공백속에서 상호작용한다는 점에서, 그리고 한 언어의 의미 체계를 다른 언어로 단순히 복사하지 않고, 의미적 유사성을 새롭게 형성한다는 점에서 스피박의 공허한 공간과 의미가 비슷하다고 볼 수 있음ㅁ.

===Allison Parrish===
{|align=right
|{{youtube|L3D0JEA1Jdc}}
|}
<blockquote>
Allison Parrish uses colors to show the same principle, adding vectors for red and blue together to get purple. <br><br><u>'''This blows up any model for language that is thinking of the meaning of language as a relationship of referents to an external (or internal) reality, since meaning is produced by vector space:''' the plotting of tokens on a matrix according to where they fall in language use—and not in relation to what they represent.</u><br><br> '''But language still represents, and organic bodies are still feeling it in space-times other than vector space, and what do you do with that?'''
</blockquote>

==Critique of translational norms==
Translational norms traditionally include the following principles
• '''Fidelity:''' 번역은 원문에 충실해야 하며, 의미와 구조를 가능한 한 그대로 전달해야 한다.
• '''Transparency:''' 번역이 자연스럽고 매끄러워야 하며, 번역된 텍스트는 번역되었음을 드러내지 않아야 한다.
• '''Equivalence:''' 번역문은 원문과 동등한 가치를 가져야 한다는 가정. 이 규범들은 번역이 "원문에 최대한 가깝게" 이루어져야 한다는 전통적 관점을 반영함.
====Cult of transparency====
====Free-flowing data = Free-flowing capital====

===Global English and machine translation===
'''Global English and machine translation abide by the principle of instrumental rationality and technocracy'''
Critique of the translational norms defined by Slater as<br>'''• productive:''' 효율적으로 대량의 번역을 생성할 수 있음.<br>'''• predictive:''' 번역의 결과가 안정적이고 반복 가능해야 함.<br>'''• navigable:''' 사용자(소비자)가 번역된 정보를 쉽게 접근하고 활용할 수 있도록 설계됨.
<blockquote>
English-language privilege, like other forms of privilege, allows its speakers a certain blindness to its positionality.<br> ''It is in this way that English travels as not a language, the way that masculinity has traveled as not a gender, or whiteness as not a race (although of course I do not wish to conflate the structures or injustices of these prejudices).''<br> As Sara Ahmed writes: <u>“What makes a privilege a privilege: the experiences you are protected from having; the thoughts you do not have to think”</u>
</blockquote>
<blockquote>
Likewise, the English language, like all hegemonic structures, also has a way of undoing itself from within. This happens primarily through the fact that English has become so big, so multinational, that the majority of its speakers are no longer native speakers, '''which makes English the least monolingual language in the world, at the same time as its monolingual ideologies are producing and reproducing events of linguistic oppression all over the globe.'''
</blockquote>

* The author mentions English as a language with a colonial past, present, and future.<br>↘︎ while English is used globally, its historical context is complex and closely tied to colonialism, therefor the norms of English translation reflect its colonial heritage, and these norms exert a powerful influence today.

====Hinge Language====
<blockquote>
…the invisible language of the machine is English, as Slater and Raley have pointed out. It is the language of computer code and programming languages.<br>
It is also often used as a hinge language in machine translation, <u>meaning that two languages that do not have enough respective data between them to create neural nets and train a machine translation model will pass first through a translation into English and then out again (Poibeau 140). '''In this way, the structures of English contaminate many other languages—and the smaller the language, the more vulnerable it is.</u>'''
</blockquote>

="Experimental" as in fallible force=

User:Neoksaal/Personal Reader/Keywords for Radicals

Neoksaal — Tue, 21 Jul 2026 17:38:04 GMT

Created page with "=The Emperor's New Clothes= ==neither static nor extrinsic to power== <blockquote> '''Words attain meaning through the history of their usage, and these histories contain traces of the struggle not only to name but also to create the world.''' </blockquote> * 단어가 사용되는 방식, 맥락, 시기마다 의미가 달라지고, 이러한 변화는 사회적, 정치적, 경제적 권력 구조에 의해 영향을 받는다. For example, the word "freedom" carries d..."

New page

=The Emperor's New Clothes=
==neither static nor extrinsic to power==
<blockquote>
'''Words attain meaning through the history of their usage, and these histories contain traces of the struggle not only to name but also to create the world.'''
</blockquote>
* 단어가 사용되는 방식, 맥락, 시기마다 의미가 달라지고, 이러한 변화는 사회적, 정치적, 경제적 권력 구조에 의해 영향을 받는다.
For example, the word "freedom" carries different meanings in different contexts (colonial independence, economic freedom, individual rights). Just as Donald Trump's notion of freedom differs from Martin Luther King Jr.'s, the concept varies depending on who uses it and for what purpose.

<blockquote>
'''Naming has historically been a war zone'''
</blockquote>
* 이름 붙이기(명명)는 단순히 사물을 구분하거나 이해하려는 과정이 아니라, 권력을 두고 벌어지는 갈등의 장이다.
<u>Deciding who gets to name something and how it is named reflects underlying power dynamics and systems of control.</u> For example, debates over place names(such as colonial-era names versus post-independence names) shows conflicts over power and identity, as seen in the case of Bombay versus Mumbai in India, Gyeongseong versus Seoul in Korea.

<blockquote>
'''the attribution of names takes the undifferentiated whole and parses it into discrete and manipulable units, the evolution of word usage tends to correspond with developments in what Marx called “the productive forces.” As Raymond Williams noted, “ordinary, everyday language” is “directly subject to historical development” (1980, 50).'''
</blockquote>
* 이름을 붙이는 행위는 대상을 인식하고 분류하며, 그 대상을 다룰 수 있는 구체적인 개념이나 단위로 만들게 된다. → 이를통해 혼란스럽고 구분되지 않은 전체(복잡한 현실)가 분리되고, 조작 가능하게 된 단위로 만들기(통제하는 방식)

'''Economy and Labor:''' by assigning the name "labor," human activities are transformed from acts of survival into measurable and controllable units of production. This becomes the foundation for systems in capitalist economies to buy and organize labor as a resource.
'''Nature and Resource:''' defining "nature" as "resources" transforms nature from it's existance into usable and manipulable units.
'''Social Identity:''' like race, gender, and class are shaped into distinguishable social units through naming. E.g. the term "consumer" defines an individual not just as a person but as a unit in specific economic activities, manipulable and targeted for economic purposes.

===단어 사용과 의미의 변화 = 충돌과 기회의 동시성===
*No guarantee that change(in real life) is positive
*Word changes and transformation of Labor in the context of Post-Fordism
*Social media and labor
*Importance of linguistic controversies
↘︎명칭의 문제보다는 본질적인 문제를 지적하는 것이 더 효과적일 수 있음: 예를 들어, 이스라엘의 "펜스"와 "벽"이라는 명칭 자체를 바꾸거나 논쟁하는 대신, 그 펜스가 어떤 의도로 사용되고 있으며, 그 결과가 무엇인지에 초점을 맞추는 것이 더 중요해지는 지점. 예를 들어, 펜스가 대규모 토지 수탈을 가능하게 하는 도구로 사용된다면, 그것이 "펜스"라고 불리든, "벽"이라고 불리든 상관없이 본질적으로 문제라고 지적해야 한다는 것이다. 즉, 명칭에 대한 논의는 부차적인 문제이고, 오히려 그 구조물이 수행하는 역할이나 기능을 문제 삼아야 한다는 주장. 이는 명칭보다 구조적, 기능적 문제를 비판하고 행동의 정당성을 부여해야 한다는 활동가들의 전략적 관점을 반영한 관점.
<blockquote>
When taken seriously, they can foster the development of coherent strategic lines and increase the impact of our political interventions. By honing in on these points of conflict, it becomes possible to uncover the social contradictions that find expression, as Williams observed, “within language” (1983, 22). '''Indeed, because “earlier and later senses” of words often “coexist” within a single moment of enunciation, words themselves can often come to signal “actual alternatives” through which “problems of . . . belief and affiliation are contested”''' (1983, 22). On this point, Williams comes close to the position advanced by feminist poet Adrienne Rich, who, in her 1971 poem “The Burning of Paper Instead of Children,” recounted how '''“a language is a map of our failures.”'''
</blockquote>

User:Neoksaal/Personal Reader/Can Jokes Bring Down Governments?

Neoksaal — Tue, 21 Jul 2026 17:37:31 GMT

Created page with "love the title of this book. though it was written 12 years ago, some of the topics like internet memes feels a bit old and outdated, I found some themes reassuring and inspiring. <br><br><br> <blockquote> Political action in the 21st century has moved beyond the manifesto. To achieve scale, it is deploying new strategies with viral properties and Darwinian survival skills. </blockquote> <br><br> =Capitalist Realism= the term coined by British author Mark Fisher in 2009...."

New page

love the title of this book. though it was written 12 years ago, some of the topics like internet memes feels a bit old and outdated, I found some themes reassuring and inspiring.
<br><br><br>
<blockquote>
Political action in the 21st century has moved beyond the manifesto. To achieve scale, it is deploying new strategies with viral properties and Darwinian survival skills.
</blockquote>
<br><br>
=Capitalist Realism=
the term coined by British author Mark Fisher in 2009.<br>
Fisher defines Capitalist Realism as a state where the capitalist system is accepted as the only viable economic and political system. This system forces even attempts to overcome the problems of capitalism to occur only within its framework, suppressing or rendering discussions of alternative systems impossible.<br><br>
with It's slogan: "There is no alternative"
<br>
<br>
=Organising-without-organisation=
author explains the concept using the example of [https://en.wikipedia.org/wiki/Anonymous_(hacker_group) Anonymous]
<blockquote>
Anonymous as a '''“gateway,”''' as a focal point or gathering strategy for activities that exceed the individual scope as a focal point or gathering strategy for activities that exceed the individual scope and scale, is a manner of describing its significance as a form of organising-without-organisation.
</blockquote>
===Flexibility, Immediacy, Decentralization===
* the power of digital networks
* quick reactions
* easy to join
* individual autonomy
* no leaders, no problem
* independent but connected
* global participation
the characteristics as such, allow groups like Anonymous to act fast, adapt to change, and stay resilient as an open-ended-in group.

=Nonsense=
by Susan Stewart
<blockquote>
the category of “nonsense” is opposed to the category of “common sense making” through which what we think of as reality is established. By categorising something as “nonsense”, “the legitimacy and rationality of sense making was left uncontaminated, unthreatened.
</blockquote>
all discourse bears reference to a commonly held world. The discourse of common sense refers to the ‘real world.’ The discourse of nonsense refers to ‘nothing.’ In other words, it refers to itself, even though it must manufacture this ‘nothing’ out of a system of differences from the everyday world – the common stuff of social life – in order to be recognised as ‘nothing.’

===Self-referentiality===
A concept used to understand how jokes or memes operate:<br>
"Self-referential patterns are structures that refer to or point to themselves, often resulting in contradictions, circular logic, or ambiguous states."
<blockquote>
...(Douglas) Hofstadter was convinced that memes looked a lot like self-referential patterns, '''which would render them not only survival-minded and selfish – but also fundamentally absurd.''' An example of such self-referentiality is the Epimenides Paradox. The Cretan thinker Epimenides stated that “All Cretans are liars.” The intricacies of this message, which says, “this statement is false,” were explored by Hofstadter in his seminal book, Gödel, Escher, Bach.
</blockquote>
joke or meme can tap into a collective memory and transform the “outcome” of a commonly held starting point to different ends.

===Play 놀이===
Nonsense also involves an element of “Play"
<blockquote>
Playing at fighting may be “not fighting,” but it is not fighting on a different level of abstraction from other kinds of not fighting such as kissing, skipping rope, buying groceries, or singing “Happy Birthday.” '''Play involves the manipulation of the conditions and contexts of messages and not simply a manipulation of the message itself. It is not, therefore, a shift within the domain of the everyday lifeworld: it is a shift to another domain of reality.'''
</blockquote>

이제 중요한 질문은, 기존의 프레임이 제공하는 잘못된 선택지에 갇히느냐 아니면 넌센스를 통해 기존의 상식 체계를 해체하고, 기존 프레임에서 벗어나 새로운 담론과 행동의 공간으로 넘어가느냐이다.

=Focal Point=

=Jokes=
{|align=center
|{{youtube|YeMnPyusuBE}}
|<div style="font-size: 12px;">
→ In 1969, Monty Python fantasised about a joke so funny it could kill; whoever heard it or read it would die laughing. “Joke warfare” would be the military deployment of jokes by opposing armies.
|}
<blockquote>
Jokes, like laughs, are contagious, even if their intention is deadly serious. Governments the world over are fortifying themselves against their own citizens, and most of all against their jokes. But jokes easily pass through the walls of the fortresses. '''The joke is an open-source weapon of the public.'''
</blockquote>
<blockquote>
Jokes are mobile; a joke catching on means it is forwarded. With online social media and mobile internet, jokes are no longer dependent on purely oral transmission, television, or print and paper. '''Such is their longevity and copying-fidelity that only the slightest remainder of a joke embedded in a new form can still carry the original.'''
</blockquote>

'''농담은 활동적이고, 살아 있으며, 이동 가능한 불복종의 형태다.'''<br>↘︎ 농담은 최고의 권력 형태다. 활동가들은 행동을 가지고 있으며, 그 삶을 산다. 이론가들은 말을 가지고 있으며, 그들의 분야를 잘 안다. 그러나 농담은 이 두 관점을 통합한다.
<br>
===Blank | Vacuum===
I like these two concepts analyzed by the author. While they share similar characteristics, they serve different purposes in the design of jokes. Both play an important role in how humour functions, but they differ in their goals and mechanisms.
'''Blank:''' is a space for the audience to engage. It refers to the room intentionally left for interpretation. It conveys implicit meaning and audience participation. it really relies on ‘what is not said’ to deliver meaning in a joke, and ultimately, it encourages deeper internalization of the message.

'''Vacuum:''' refers to absence or contradiction within power structures or system, the vacuum points to the flaws and gaps that the system intentionally conceals or denies. Humour or joke exposes and mocks this vacuum, reveals the irrationality of moral deficiences of those in power.
<br>
==Dadaist Troll==
'''의미 있는 질문에 무의미한 답변으로 응답하는 것은, 질문이 제기된 프레임 속에서의 정치를 부정하는 효과적인 도구이다.'''
<blockquote>
The question, “do you condone or condemn,” is a trap, a gotcha, intended to force all opposition to accord to a neoliberal frame – in other words, it is an exercise in sense-making. '''The absurd response refuses to participate in this exercise. It removes itself from the frame.'''
</blockquote>
<br>
the political theorist Aaron Peters contends that jokes are one among a series of political instruments, and should be used in concert with them. Says:
<blockquote>
The joke as a disruption of the symbolic order is useful in taking on the antagonist not through a formal and recognisable disagreement in content but instead as an attempt to negate the form of legitimate rational debate as they might have otherwise naturally presumed.
</blockquote>
A central element in political contention is '''disruption'''. e.g:
* the disruption of the circulation of goods and services in industrial strikes
* the disruption of the reprodudction of space in occupations (as protest)
* the disruption of all social relations in riots or uprising.
jokes too, are a form of disruption to the symbolic order, interfering wth the circulation of discourse. they can be seen as something unintended to occur at the formal level when engaging in "politics".<br><br>
'''It is this mixture of the disruption of the symbolic order at a number of levels, both the physical and the communicative that disconcerts the powerful the most.'''

==Joke as a Subversive Side Narrative==
'''1. Jokes provide alternative narratives.'''<br>As tools that twist or dismantle existing orders and discourses, jokes play a role similar to side narratives in expanding or replacing the main narrative.<br>For example, jokes that mock or expose power structures highlight issues that are either ignored or intentionally excluded from the main narrative. Jokes reveal contradictions or absurdities in power dynamics that are often obscured in the main discourse.<br>↘︎ 농담은 주요 담론이 설정한 규칙, 논리, 질서를 따르지 않는다. 오히려 기존 담론의 허점이나 모순을 폭로하거나, 그 틀 자체를 무력화하는 데 초점을 맞추는 것: <u>농담은 주요 담론을 보완하거나 전복하는 방식으로 새로운 담론의 가능성을 만들어낸다.</u>

'''2. Jokes utilize tacit knowledge(implicit understanding).'''<br>Jokes rely on shared cultural contexts and symbols, which is similar to how side narratives connect to existing stories while functioning independently. In particular, the "in-joke" nature of humour fosters implicit agreement within specific groups, mirroring how side narratives convey the perspectives and experiences of those groups. Jokes, grounded in shared implicit understanding, can create a space for forming new solidarity and communities.<br>↘︎ 농담은 주요 담론이 추구하는 '합리적 설득' 방식 대신, 공유된 문화적 맥락이나 감정을 바탕으로 즉각적인 공감과 반응을 유도한다. 이는 논리보다는 감각적이고 정서적인 방식으로 작동하는 주변 서사의 특성과 맞닿아 있다.

'''3. Jokes operate in parallel.'''<br>Jokes do not remain confined within the framework of the main narrative; instead, they operate alongside it in parallel, offering new alternatives or perspectives. This allows them to exist as independent stories or messages separate from the main discourse. Like how side narratives work in parallel with the main narrative to provide alternatives.<br>↘︎ 농담은 기존 담론의 흐름을 깨면서도, 새로운 질문이나 논의를 유도할 수 있는 것이다. 이로 인해 주요 담론과는 병렬적으로 존재하면서도, 그 경계를 확장하거나 전환시키는 역할을 한다.

'''4. Jokes are fast.'''<br>They operate by quickly bypassing or replacing the main narrative.

=Design=

==Dialogic Image==

==Subliminal Messasing==

User:Neoksaal/Personal Reader/The Laurence Rassel Show

Neoksaal — Tue, 21 Jul 2026 17:37:09 GMT

Created page with "[http://publicrec.org Public Record]<br> http://publicrec.org/archive/2-01/2-01-014/2-01-014.html <br> ▲PUBLIC RECORD ARCHIVE Releases for Free Download<br> [https://www.comatonse.com/writings/2007_laurencerasselshow.html The Laurence Rassel Show(Terre Thaemlitz website)]<br> <blockquote> ...The German art critic Walter Benjamin once rebuked the Surrealists, demanding that artists who assume the mantle of revolutionaries would do better engaging actual political strug..."

New page

[http://publicrec.org Public Record]<br>
http://publicrec.org/archive/2-01/2-01-014/2-01-014.html <br>
▲PUBLIC RECORD ARCHIVE Releases for Free Download<br>
[https://www.comatonse.com/writings/2007_laurencerasselshow.html The Laurence Rassel Show(Terre Thaemlitz website)]<br>

<blockquote>
...The German art critic Walter Benjamin once rebuked the Surrealists, demanding that artists who assume the mantle of revolutionaries would do better engaging actual political struggles than promoting their individual artistic careers. Benjamin challenges artists to pursue sustained and committed relationships with social movements.

Conversely, simply listening to political movements poses its own inadequacies. Convention and territorialism inflict many political organizers producing tendencies that result in stagnation. Leadership too often becomes a claim to power rather than a participatory process.

A challenge to instrumentalism, a critique of goal-driven strategizing, a deconstruction of exclusions, and the distribution of power can inform art's contribution to an encounter with(in) social movements. Solidity, duration, and faith in the process become necessary conditions for such an encounter. As Ultra-red member Leonardo Vilchis argues on the release "Encuentro" (PR 2-01-011), let these terms define the basis of a sound political art practice.
</blockquote>

<blockquote>
Produced for German Public Radio by musician and trans-activist Terre Thaemlitz in collaboration with Laurence Rassel of Brussel's cyberfeminist collective Constant. The album combines original and liberated music with spoken word examining the gender politics of the copyLeft. An album so cutting edge German Public Radio banned it from broadcast. Also starring Tina Horne, Pierre De Jaeger, Nicolas Malevé, Femke Snelting, Marie-Françoise Stewart, Aiko Tsuji and Wendy Van Wynsberghe.
</blockquote>
==5 . A special message from Peggy Phelan==
==6 . Fetishism as a means of authoring the invisible==
==7. A special message from Michele Foucault==
''' ''“AS OUR SOCIETY CHANGES, AT THE VERY MOMENT WHEN IT IS IN THE PROCESS OF CHANGING, THE AUTHOR FUNCTION WILL DISAPPEAR.”'' '''
==9 . A special message from Michel de Certeau==
==10 . On transgendered authorship==
==11. A special message from Roland Barthes==
==13 . A special message from Virginia Woolf==

User:Neoksaal

Neoksaal — Tue, 21 Jul 2026 17:36:21 GMT

← Older revision		Revision as of 17:36, 21 July 2026
Line 9:		Line 9:
	::: [[/Prototyping\|/ Prototyping]]<br>		::: [[/Prototyping\|/ Prototyping]]<br>
	:::: [[/How to ( )\|/ How to ( )]]<br>		:::: [[/How to ( )\|/ How to ( )]]<br>
	::::: [[/Links\|/ Links]]<br>		:::::: [[/Links\|/ Links]]<br>
	</p>		</p>
	</div>		</div>

MediaWiki:Sidebar

Neoksaal — Tue, 21 Jul 2026 17:36:00 GMT

← Older revision		Revision as of 17:36, 21 July 2026
Line 5:		Line 5:
	** helppage\|help-mediawiki		** helppage\|help-mediawiki
	* ta		* ta
	** User:Neoksaal~~\| Notes2~~		** User:Neoksaal\| Notes
	** Notes\|Notes
	** Special:Upload\|Upload file		** Special:Upload\|Upload file
	** Special:ListFiles\|New files		** Special:ListFiles\|New files

Notes

Neoksaal — Tue, 21 Jul 2026 17:35:36 GMT

Neoksaal deleted page Notes content before blanking was: "<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" > <p style="font-family: monospace";> ::: / Trouble Shooting :: / Projects :: / PMOMMs<br> :::: / Glossary<br> ::::: / Annotated Bibliography<br> :::::: / Personal Reader<br> ::: / Prototyping<br> :::: / How to ( )<br> ::::: / Links<br> <..."

Personal Reader

Neoksaal — Tue, 21 Jul 2026 17:35:16 GMT

Neoksaal deleted page Personal Reader content was: "<br> <br> 📖 ------------ All Problems of Notation Will be Solved by the Masses Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology Georges Perec's Thinking Machines | Geo...", and the only contributor was "Neoksaal" (talk)

All Problems of Notation Will be Solved by the Masses

Neoksaal — Tue, 21 Jul 2026 17:34:58 GMT

Neoksaal deleted page All Problems of Notation Will be Solved by the Masses content before blanking was: "''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.'' ===The Commodification of Collaboration and the Contradiction of Collaboration in Art=== Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodifie..."

Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology

Neoksaal — Tue, 21 Jul 2026 17:34:42 GMT

Neoksaal deleted page Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology content before blanking was: "==Introduction: The 'turkey baster disaster' and the realpolitik== <blockquote> What was important about it for our purposes here, however, was a marked shift in the community from essentialist, “biologically” driven explana- tions to more complex, contradictory, heterogeneous ways of thinking about experi- ence and situations. “Men” became modified by “our sons”; “mutants” were newly domesticated and intimate. And from this experience and many o..."

Glossary

Neoksaal — Tue, 21 Jul 2026 17:34:29 GMT

Neoksaal deleted page Glossary content before blanking was: "=<div style="font-family: monospace; font-size: 25px; float: right;">'''A'''</div>= ==<span style="font-family: monospace; font-size: 25px;">'''Absurdity'''</span>== <div style="display: flex;"> <div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;"> </div> <div style="flex: 7; text-align: left; font-size: 15px;"> </div> </div> ==<span style="font-family: monospace; font-size: 25px;">'''Alternative Data'''</span>== <div style="display: flex;"> <d..."

Georges Perec's Thinking Machines

Neoksaal — Tue, 21 Jul 2026 17:34:15 GMT

Neoksaal deleted page Georges Perec's Thinking Machines content before blanking was: "==Semantic Poetry and P.A.L.F== The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.<br> (take a line from William Wordsworth) <blockquote> ''“I wandered lonely as a cloud…”''<br> ↓<br> ''“I wandered lonely as a mass of watery vapor suspended in the upper atmosphere”'' </blockquote> 이 과정에..."

User:Neoksaal/Personal Reader/Georges Perec's Thinking Machines

Neoksaal — Tue, 21 Jul 2026 17:33:48 GMT

Created page with "==Semantic Poetry and P.A.L.F== The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.<br> (take a line from William Wordsworth) <blockquote> ''“I wandered lonely as a cloud…”''<br> ↓<br> ''“I wandered lonely as a mass of watery vapor suspended in the upper atmosphere”'' </blockquote> 이 과정에서, 원..."

New page

==Semantic Poetry and P.A.L.F==
The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.<br>
(take a line from William Wordsworth)
<blockquote>
''“I wandered lonely as a cloud…”''<br>
↓<br>
''“I wandered lonely as a mass of watery vapor suspended in the upper atmosphere”''
</blockquote>
이 과정에서, 원래 구절이 갖고 있던 시적 정서와 이미지가 상실되고, 대신 무미건조하고 기계적인 언어가 남게 된다. 테메르손의 이 기법은 두 가지 측면에서 독특하다:<br>
'''1. 시의 정체성 해체:''' 의미 시는 독자가 시를 해석할 때 느끼는 직관적 아름다움과 감성을 의도적으로 제거해 버린다. 감성적이거나 상징적인 언어는 사전적 정의로 치환되며, 이는 시적 표현이 아닌 단순한 설명으로 바뀌어 시가 가진 본래의 매력을 빼앗는 것이다. 이를 통해 시가 단순히 언어적 구성 이상의 것이라는 점을 역설적으로 강조하는 셈.
'''2. 문학적 진정성에 대한 질문:''' 테메르손은 의미 시를 통해, 문학이나 시가 ‘진정한 의미’를 전달한다고 믿는 전통적 관점을 조롱한다. 그는 언어와 의미의 상관관계가 반드시 직관적이거나 감정적일 필요가 없으며, 문학이 본질적으로 무의미한 표현이 될 수도 있음을 보여준다.

===P.A.L.F and exhausting the lexicon experiment===
<blockquote>
P.A.L.F. makes translation by semantic definition a recursive device (applying it over again to the output of the “machine”) and <u>quickly produces monstrously inflated expressions that tend asymptotically toward the inclusion of all the words in the lexicon. '''Perec and Bénabou hypothesized that if any text subjected to the automatic production device tended toward the exhaustion of the lexicon, then any two texts would at some point of expansion come to include the same words as each other.'''</u>
</blockquote>
Technically it didn't work, but I like it. Like some kind of a philosophical jest suggesting that if all texts were infinitely expanded, they would ultimately converge to the same content in essence.

===60s' Post-structuralism===
<blockquote>
P.A.L.F. is of interest as the first explicitly mechanical device entertained by Perec for the production of literary texts, and also as a symptom of the ‘60s’ fascination with the potential of the signifier to subvert, overturn, and generally wreak havoc with meaning and authorial intention.
</blockquote>
'''1.기호의 전복적 잠재력:'''<br> 기호가 단순히 의미를 전달하는 수단이 아니라, 의미를 바꾸고 뒤집고 혼란스럽게 만들 수 있는 잠재력을 가졌다고 본 시기. 기호 그 자체가 의미나 의도(authorial intention)를 쉽게 고정시킬 수 없는 힘을 가진다는 인식의 확산.<br>e.g. 한 단어가 특정 의미를 전달하려 하지만, 그 단어 자체가 다의성을 가지기 때문에, 의도와는 다른 해석이 생길 수 있다. 이런 점에서 1960년대 사상가들은 기호가 단일한 의미로 고정될 수 없다는 것을 발견하고, 기호의 이 혼란스러운 힘을 적극적으로 탐구했다.
'''2.저자 의도의 해체:'''<br> 기호의 의미가 변함에 따라, 저자의 의도 역시 전복될 수 있다는 생각이 1960년대에 퍼지기 시작했다. 이는 포스트구조주의의 중요한 아이디어 중 하나로, 저자가 무언가를 의미했다고 해도, 독자가 그 기호를 어떻게 해석하느냐에 따라 의도와는 다른 의미가 생길 수 있다는 것. 따라서 텍스트는 독자의 해석에 따라 계속해서 재구성될 수 있는 존재가 되며, 저자의 의도는 점점 더 무의미해지거나 부차적인 것으로 간주됨.
'''3.P.A.L.F.와 기호 실험:'''<br> 페렉의 P.A.L.F.는 기호가 가진 이러한 전복적 힘을 실험하는 장치이다. 이는 기계적으로 텍스트를 만들어내며, 단어와 기호를 반복적으로 정의하고 변환하면서 원래의 의도를 전복시키고, 최종적으로 텍스트에 대한 이해를 완전히 혼란스럽게 만드는 방식으로 작동하기 때문이다.<br>이를 통해 의미나 의도는 고정될 수 없고 무너질 수 있는 불안정한 것이라는 점을 실험하게 되는 것이며, 이는 1960년대의 언어와 기호에 대한 관심, 그리고 기호가 기존의 의미 체계를 전복하는 가능성을 잘 보여주는 예라고 할 수 있음.

==Constraint==
<blockquote>
'''A constraint is any operation that can be made fully explicit on some level or another of a language (sound, letter, word, sentence…) and which gives rise to a new text.''' The first of Perec's Oulipian works to appear in French was his famous lipogram, A Void, a novel of three hundred pages written without the help of the letter e (the constraint being to write with only twenty-five letters, but within the grammar and lexis of the standard language nonetheless).
</blockquote>

==Algorithm and Death==
===Kafka machine===
<blockquote>
...But that would only lead to a conventional “Frankenstein” scenario, and Perec dropped the idea. He then turned to an entirely different use that '''might be made of an imaginary computer: to answer the question, What is poetry?'''
</blockquote>
<blockquote>
the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.<br>
...<br>
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.
</blockquote>
-Today's AI
'''1.문체 분석 알고리즘:''' 문체 분석 알고리즘은 저자의 고유한 문체를 특정 수치나 변수(예: 단어 빈도, 평균 문장 길이 등)로 분석했다. 이를 통해 특정 텍스트가 특정 작가의 문체와 일치하는지 판별할 수 있으며 예를 들어, 어떤 텍스트가 단어 빈도나 문장 구조를 통해 ‘카프카’의 스타일과 유사한지를 따져볼 수 있게 된다.
'''2.역방향 적용:''' 여기서 울리포의 흥미로운 발상은 이 알고리즘을 역으로 사용하는 것이다. 즉, 카프카의 스타일 분석에서 추출한 변수들을 이용해 알고리즘이 직접 카프카와 유사한 스타일의 텍스트를 생성하도록 하는 것. 이렇게 만들어진 텍스트는, 특정 작가(이 경우 카프카)의 문체를 반영하므로 컴퓨터나 독자도 진짜와 구별하기 어려울 정도로 그 작가와 비슷한 문체를 갖추게 된다는 것이다.
'''3.카프카 기계:''' 이를 통해 만들어진 기계, 즉 “카프카 기계”는 카프카의 스타일을 모방하여 새로운 텍스트를 자동으로 생성하는 장치가 된다. 이 기계가 작동한다면, 실제로 카프카가 쓴 것이 아닌데도 그의 문체와 매우 비슷한, “카프카적”인 텍스트를 생성할 수 있게 되는 것이다. 이는 마치 카프카의 무의식적인 창작 과정을 기계가 재현해내는 것처럼 보이기 때문이다.
===Die Maschine===
<blockquote>
But Die Maschine is not just a way of subverting Goethe. '''The last part of this sixty-minute play takes a different approach, and seeks the connections between this poem and the nature of poetry through analogous lines from the vast thesaurus of world poetry that the speaking computer naturally contains.''' <u>The “explosion of quotations” of lines of verse in seven languages about nature, silence, and mortality produces a final movement that is the reverse of the play's aggressive number-crunching start.</u> The verse tails off into the words for “silence” and “peace” repeated rhythmically in Japanese, Russian, English, Spanish, Italian, French, and German; a long “shhh…”; and then silence. In the end, something really has been said about what poetry is.
</blockquote>
''' ''What enabled this to speak about poetry?'' '''<br>
Because of the universality of themes that humans address in poetry?
<br>

===Flow chart===
[[File:George-Perec The-Art-of-Asking-Your-Boss eng.jpeg|thumb|right|The Art of Asking Your Boss]]
<blockquote>
...“It consists of a certain number of propositions that can take either yes or no for an answer, each answer having certain consequences. The concatenation of causes and effects and the choice of answers are represented by arrows that are the only syntactic connectors between the propositions. In brief, '''it is a tree structure, a network, a labyrinth, and the “reader” chooses ONE route among all the possible routes, the totality of possible routes being presented SIMULTANEOUSLY on the flow-chart.'''”
</blockquote>
<blockquote>
A flowchart, as Perec explained to Helmle, <u>shows simultaneously all the steps and the order of their recursion in a set of instructions.</u> It also contains within it all the possible moves allowed by the algorithm. It is therefore an essentially Perecquian device, '''being at once exhaustive and simultaneous'''.
</blockquote>
When put like this, it's such an interesting concept.

'''1. 플로차트의 "완전성"과 "동시성"'''<br>
'''완전성(Exhaustiveness):''' 페렉의 플로차트는 주어진 절차에 따라 발생할 수 있는 모든 경로와 단계를 모두 포함하고 있다. 즉, 어떤 경우에도 빠뜨리지 않고 가능한 모든 행동의 선택지와 경로를 제시하는 구조인 것. 이는 페렉이 추구한 “소진(Exhaustion)” 개념과 맞닿아 있는데, 페렉의 문학적 기법은 특정 주제나 구조를 철저히 탐구하고, 다루고 있는 모든 요소를 빈틈없이 다루려는 시도를 포함하는 것이다. 이 플로차트는 그 본질을 잘 보여주고 있는 것.
'''동시성(Simultaneity):''' 플로차트는 단순히 순차적으로 단계가 진행되는 것이 아니라, 모든 단계가 동시에 펼쳐져 보여지면서 다양한 가능성을 한눈에 확인할 수 있게 한다. 이는 독자가 특정 상황에서 선택지를 보는 것이 아니라, 각기 다른 선택지가 동시에 존재한다는 점을 인식하게 만드는 것. 이러한 방식은 페렉이 강조한 “동시적 서사”와도 연관이 있다. 그는 다양한 사건과 인물이 동시에 발생하는 상황을 묘사하는 것을 즐겼고, 이를 통해 특정한 흐름이 아닌 여러 가능성을 복합적으로 보여주는 서사 방식을 만들어낸다.<br> i.e. “Life A User's Manual”, similarly an exhaustive description of all the rooms in the building at 11, rue Simon Crubellier, and a simultaneous account of all that is happening there toward eight in the evening on June 23, 1975…

'''2. 플로차트의 "재귀성과 무한 루프", 시간의 재삽입과 서사의 한계'''<br>
플로차트에는 '''재귀성(recursiveness)'''이라는 중요한 특성이 존재한다. 재귀성이란 특정 조건에 따라 이전 단계로 되돌아가는 과정을 반복할 수 있는 구조를 의미하는데, 페렉의 플로차트는 사용자가 예/아니오 등의 선택에 따라 다시 상사의 사무실로 돌아가거나 처음부터 다시 시도하는 식으로 무한히 순환할 수 있는 구조를 가지고 있다.<br>알고리즘이 이론적으로 무한히 돌아갈 수 있는 구조를 가지고 있는 반면, 페렉은 이 서사를 쓸 때 시간이 자연스럽게 서사에 개입한다는 것을 발견하게 된다. 예를 들어, 급여 인상을 요청하는 직원이 상사를 만나러 갈 때마다 시간이 흐르고 그 사람은 나이를 먹어간다. 어떤 선택을 하고 다시 상사의 사무실로 돌아가는 과정이 수차례 반복되더라도, 각 시도마다 직원은 조금씩 나이가 들어가며 시간이 흐르는 것을 느낄 수밖에 없다. 결국, 알고리즘적 구조에서 벗어나지 않더라도 인간의 서사는 시간을 동반할 수밖에 없는 셈.

'''3. 페렉 문학에서의 "동시적 장치"로서의 플로차트'''<br>
플로차트가 페렉 특유의 문학적 장치로 중요한 이유는, 그의 작품들이 동시에 여러 사건과 인물을 다루고, 각자의 선택이나 상황이 여러 가지 방식으로 변화할 수 있는 가능성을 제시한다는 점에 있다. 예를 들어, 그의 대표작 '인생 사용법'은 하나의 건물 안에 존재하는 다양한 방과 인물들을 동시에 서술하면서, 마치 독자가 건물의 여러 방을 한 번에 볼 수 있는 다중적 관찰자처럼 느끼게 한다.<br>이와 마찬가지로 '''플로차트는 하나의 흐름이 아닌, 다양한 가능성들이 동시에 펼쳐진다(즉, 모든 단계와 선택지가 열린 상태로 존재한다)는 점에서 페렉의 다층적이고 다각적인 서사 구조를 반영한다.''' 플로차트는 페렉이 추구했던 여러 서사적 가능성을 하나로 통합해 동시에 보여주는 형식적 장치인 것.

===Clinamen===
<blockquote>
The theory of the clinamen, insofar as it relates to Perec's work, is that <u>intentional irregularity softens the harshness of a text written under constraint, '''bringing all-too-human fallibility into the domain of formal art.'''</u>
</blockquote>
<blockquote>
It's a way of having your cake and eating it too, for a clinamen is not an example of fallibility, but '''an intentional bending of self-imposed rules to show that the writer is in complete command not only of necessity, but also of chance.'''
</blockquote>
<blockquote>
Its secondary effect is perhaps even more important in the end: systematic non-respect of a systematic rule makes the rule unrecoverable from the finished text. = '''규칙을 체계적으로 지키지 않음으로써 최종 텍스트에서 규칙을 추적할 수 없게 만든다는 점.'''<br>↘︎ 더 레이즈는 알고리즘의 절차를 어느 정도 따라가면서 듣는 이에게 불가피한 좌절감을 심어주지만, 그 규칙을 충분히 벗어나 예상되는 알고리즘적 구조를 파악할 수 없게 한다. 여섯 개의 목소리는 항상 논리적 절차에 따라 말하는 것이 아니고, 여섯 개의 요소가 한 번씩 순환하는 과정도 반드시 결말에 이르지는 않으며 , 로 표시된 일시 정지 또한 반드시 절차의 시작점으로 돌아가라는 의미는 아니다. 그래서 아무리 애써도 페렉의 알고리즘적 연극에서 실제 알고리즘을 추론할 수 없게 되는 결과를 만든다.''
</blockquote>
'''The Conceptual Background of Clinamen'''<br>Clinamen is a concept originating from the ideas of the ancient Greek philosopher Epicurus and the Roman poet Lucretius. Lucretius, from an atomistic perspective, described how all atoms fall in a straight line but sometimes deviate slightly, moving unexpectedly due to a “small swerve” (clinamen). He saw this swerve as creating opportunities for all things and phenomena to change freely, beyond predetermined laws or necessity.

'''클리나멘과 알고리즘적 구조의 관계'''<br>클리나멘은 알고리즘적 구조나 규칙의 존재를 부정하지는 않지만, 그 안에서 발생할 수 있는 편차나 오류, 예외를 자연스럽게 받아들인다. 따라서 클리나멘은 알고리즘을 완벽하게 따르지 않는 일종의 유연성을 지니며, 이는 알고리즘적 절차가 갖는 기계적 경직성을 인간적 관점에서 완화하는 방식으로 작용할 수 있다. 클리나멘은 규칙 내에서 발생하는 불가피한 일탈로, 이는 완전히 규칙을 위반하는 것이 아니라 규칙을 유지하면서도 규칙의 틀 안에서 자유로운 편차를 허용하는 개념이다.

'''클리나멘의 예시'''<br><br>
'''리포그램(Lipogram)에서의 작은 일탈'''<br>
리포그램은 특정 글자를 전혀 사용하지 않고 글을 쓰는 장르이다. 예를 들어, 조르주 페렉의 '사라진 남자(A Void)'는 ‘e’라는 글자를 전혀 쓰지 않고 300페이지에 달하는 소설을 쓴 예이다. 여기서의 규칙은 ‘e’를 쓰지 않는 것이지만, 이 규칙이 주는 한계를 극복하기 위해 페렉은 다양한 언어적 변주를 시도하게 됩니다. 즉, ‘e’를 피하기 위해 더 많은 단어를 설명하거나 표현을 우회하는 과정에서 의도치 않게 독특한 문체나 예상하지 못한 표현이 나오게 되죠. 이로 인해 발생하는 언어적 다양성은 클리나멘의 성격을 지니며, 규칙이 작품을 단조롭게 만드는 대신 작품의 창의성을 확장하게 만드는 요소로 작용합니다.
<br><br>
'''펠릭스 펜던의 100만 번째 시도와 같은 엄격한 숫자 규칙 속에서의 일탈'''<br> 울리포의 다른 작품 중, 펠릭스 펜던의 100만 번째 시도는 엄격하게 숫자를 기반으로 쓰인 시이다. 이 작품은 정확히 100만 개의 글자로 이루어져야 한다는 규칙을 따르며, 글자 수를 맞추기 위해 일부 단어나 표현을 예상치 못하게 줄이거나 늘리는 변형이 생겨나게 된다. 이 과정에서 글자의 수를 맞추기 위해 문장의 일부가 생략되거나, 덧붙여지거나, 반복되기도 한다. 이는 일종의 필연적인 클리나멘으로 작용하며, 독자는 정해진 규칙 속에서 생기는 예상치 못한 리듬과 구조적 변형을 경험하게 되는 것.<br><br>
'''하이쿠(俳句)에서 발생하는 예상치 못한 의미 변주'''<br> 일본의 전통 시인 하이쿠는 5-7-5 음절의 엄격한 구조로 지어진다. 이 형식은 매우 제한적이기 때문에, 자연스럽게 단어 선택이 매우 절제되며 복합적인 의미를 갖게 되는 경우가 생긴다. 예를 들어, 어느 구절에 계절이나 감정이 한두 단어로 표현될 때, 독자는 그 짧은 문구 안에 함축된 여러 의미를 해석하게 된다. 이런 경우, 짧은 형식 안에서 예상치 못한 해석이나 감정이 발생하는데, 이는 하이쿠의 규칙 속에서도 필연적으로 발생하는 자연스러운 변주이자 클리나멘의 예로 볼 수 있음.<br><br>
'''알고리즘적 구조에서의 일탈'''<br> 예를 들어 페렉의 더 레이즈에서 사용된 알고리즘적 구조는 급여 인상을 요청하는 절차를 엄격하게 따라가는 형식이지만, 이야기 속에서 주인공이 상사를 기다리다 병을 얻거나, 상사가 새로운 인물로 교체되는 등의 외부 요인에 따른 예상치 못한 변화가 발생하게 된다. 이는 알고리즘이 허용하지 않는 예외이지만, 현실적인 설정을 반영하면서 알고리즘의 반복적 구조에 변화를 주는 역할을 한다. 이렇게 엄격한 규칙을 유지하면서도 일상적인 우연이 삽입되는 변주가 클리나멘으로 작용하는 것.
<br><br>
'''→클리나멘의 핵심: 규칙을 준수하면서 발생하는 창의적 예외'''<br>
클리나멘의 핵심은 규칙을 깨지 않으면서도 그 규칙 안에서 의도치 않게 발생하는 작은 변화가 예술적 효과를 만들어낸다는 것이다. 이러한 변화는 규칙을 따르는 자발적인 일탈이자, 규칙이 작가나 독자에게 예상치 못한 창의성을 제공하는 순간.

User:Neoksaal/Personal Reader/Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology

Neoksaal — Tue, 21 Jul 2026 17:33:28 GMT

Created page with "==Introduction: The 'turkey baster disaster' and the realpolitik== <blockquote> What was important about it for our purposes here, however, was a marked shift in the community from essentialist, “biologically” driven explana- tions to more complex, contradictory, heterogeneous ways of thinking about experi- ence and situations. “Men” became modified by “our sons”; “mutants” were newly domesticated and intimate. And from this experience and many others, th..."

New page

==Introduction: The 'turkey baster disaster' and the realpolitik==
<blockquote>
What was important about it for our purposes here, however, was a marked shift in the community from essentialist, “biologically” driven explana- tions to more complex, contradictory, heterogeneous ways of thinking about experi- ence and situations. “Men” became modified by “our sons”; “mutants” were newly domesticated and intimate. And from this experience and many others, the vocabulary of essentialism was deeply scrutinized and abandoned (by many). Among other things, we took the misplaced concretism of sex and re-situated it within the concrete experi- ence of gender and relationships.
</blockquote>
<blockquote>
I want to take us from low-tech turkey basters to high-tech computers via this exam- ple, because I think it says something important about feminism, method, and tech- nology. One simplistic way of reading these events (and others of the late 1970s and early 1980s) is that <u>the blunt reality of life experience interfered with an idealistic, ideo- logical kind of talk—a form of realpolitik that was also a co-optation.</u>
</blockquote>
<blockquote>
I hold that it is the '''all at once-ness''' that is at the core of feminist survival, and as a <u>consequence at the core of our relationship to science and technology. The power to hold multiple, contradictory views in a moral collective is necessary in shaping the divergence between '''Big Brother and a positive, cyborg-inhabited multiverse.'''</u>
</blockquote>
{| width=80% align=center
|<pre style=" background:#D5FFAC; color:black;">
페미니즘이 복잡한 현실과 모순된 관점을 동시에 받아들이는 능력을 통해 생존하고 발전해왔으며, 이러한 능력이 과학과 기술을 바라보는 방식에도 중요하다. 빅 브라더처럼 단일한 통제와 규율을 따르는 대신, 사이보그처럼 복잡성과 다원성을 포용하는 사고가 필요한 것이다. 동시다발성은 이러한 복잡한 문제를 해결하는 핵심적인 방법론이며, 이는 단순한 타협이 아니라 복잡한 현실 속에서 다양한 관점을 수용하는 능력을 뜻한다.
</pre>
|}
Look also-> [https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf 'A Cyborg Manifesto' by Donna J. Haraway, 1985]
<br>
<br>
<br>
=="Method is a way of surviving experience"==
<blockquote>
Method is a way of surviving experience. It is a word at once stronger than paradigm, in the sense that it often crosses, both historically and spatially, most uses of the Kuhnian term. It may be part of several paradigms; it may persist after other attributes of a paradigm have fallen away.
</blockquote>
▲ 방법론은 역사적, 공간적 맥락을 초월해 여러 패러다임을 넘나든다. 즉, 하나의 패러다임이 바뀌거나 사라지더라도, 그 안에서 사용된 방법론은 여전히 남아있고 유용할 수 있다. 예를 들어, 과학적 사고에서 어떤 특정한 이론이 패러다임으로 받아들여졌을 때, 그 이론이 나중에 버려질 수 있지만, 그 이론을 탐구하는 과정에서 사용된 방법들은 여전히 유효할 수 있는 것과 같다.
'''The geography of nature to be experienced by feminism'''
'''-Subjects are cyborg :''' 사이보그는 인간과 기계의 경계가 모호한 존재로, 유동적이고 고정되지 않은 정체성을 상징한다. 페미니즘에서 주체는 고정된 성별, 정체성을 넘어서는 존재로서, 다양한 영향을 받으며 끊임없이 변화합니다.
'''-Nature is Coyote :''' 자연이나 인간의 본질을 고정된 것으로 보지 않고, 다양한 가능성을 수용하는 관점.
'''-The geography is elsewhere :''' 우리가 알고 있는 기존의 지리적 또는 사회적 경계가 더 이상 중요하지 않으며, 새로운 패러다임 속에서 우리가 위치한 곳이 다르게 해석될 수 있음.<br><br> '''"...Included in the cyborg image is the question: how —a fundamentally methodological question."'''<br>사이보그는 고정된 본질이 없고, 경계를 넘나드는 존재이므로, 어떻게 이러한 복잡한 현실을 방법론적으로 다룰 것인가

<blockquote>
In Shulamith Reinharz’s terms, <mark>[[/inseperable knowledge |'''knowledge]]</mark> is inseparable from the process of strategic community building and understanding'''.
</blockquote>
Considered formally, then, '''<mark>[[/the attributes of feminist method | the attributes of feminist method]]</mark>''' are particularly important.
<br>
"...where, after poststructuralism, can we find validity?" asks Patti Lather
<br>
<br>

==Where should information be situated?==
<blockquote>
...It becomes new, however, when people are added as active interpreters of information, who themselves inhabit multiple contexts of use and practice. What becomes problematic under these circumstances is the relationship between people and things, or objects, the relationship that creates representations and not just noise. '''Information is only information when there are multiple interpretations.''' One person’s noise may be another’s signal, or two people may agree to attend to something but '''it is the tension between contexts that actually creates representation.'''
</blockquote>
'''Context - Tension - Representation'''<br> 정보가 존재하고 해석되는 문화적, 사회적, 역사적, 개인적 배경과 같은 다양한 맥락들 간의 차이가 긴장을 만든다. 그러나 이 긴장이 단순히 갈등을 초래하는 것이 아니라, 그 자체가 새로운 의미를 창조하는 과정이라는 점이 중요. 서로 다른 맥락에서 정보가 해석되거나 충돌할 때, 그 과정에서 새로운 표현/의미가 생성된다는 것.

The expansion occurs by shifting the context in which the information resides.
'''긴장''': 다양한 관점, 해석, 혹은 방식들이 충돌하면서 서로 영향을 미치는 상황. 이 충돌은 정보에 대해 하나의 절대적인 해석이 아닌, 여러 해석이 존재할 수 있다는 것을 전제로 하며, 이러한 긴장은 정보의 의미를 풍부하게 만들고, 다양한 관점에서 재해석될 수 있는 기회를 제공한다.<br> :예를 들어, 예술 작품이 서로 다른 시대와 문화에서 다르게 해석될 때, 이 과정에서 발생하는 긴장은 종종 새로운 해석과 의미의 확장을 가져온다. 마치 현대의 독자가 고전 문학 작품을 새로운 시각에서 해석할 때, 과거에는 고려되지 않았던 새로운 의미들이 등장하는 것처럼.

'''표현과 맥락:''' 긴장은 궁극적으로 표현을 창조하는 데 중요한 역할을 한다. 표현이란 특정한 맥락에서 형성된 의미나 상징을 말하며, 정보가 단순한 데이터가 아닌, 그 속에서 특정한 의미를 갖게 되는 과정을 의미한다. 맥락 간의 긴장이 없다면, 표현은 고정되고 정체된 의미에 머무를 수 있으나 이 긴장이 존재함으로써, 표현은 다양한 맥락에서 새롭게 해석되며, 동적이고 변화하는 의미(i.e 인터넷밈)를 가지게 되는 것.
<br>
<br>
==Objects in communities of practice==
===Mediated by "Member" objects===
{| width=40% align=center
|<pre style=" background:#D5FFAC; color:black;">
1.사물은 행동에 봉사한다
2.사물은 행동을 중재한다
3.사물은 맥락과 행동 속에서 의미를 가진다
4.사물이 후속 행동을 중재하는 힘을 가진다
</pre>
|}
<blockquote>
A community of practice is defined in large part according to the co-use of such objects, since all practice is so mediated. The relationship of the newcomer to the community largely revolves around the nature of the relationship with the objects—and not, counterintuitively, directly with the people. Acceptance or legitimacy derives from the familiarity of action mediated by “member” objects.
</blockquote>

===Familiarity and Naturalization===
She explains that when a new member joins a community of practice, the relationship with objects is more important than the relationships with other members of the community. In other words, to be recognized as a member of the community, '''one must become familiar with the objects used within that community. The <u>relationship with objects</u> becomes a key criterion for gaining legitimacy within the community.'''
<br><br>
When an object becomes '''naturalized''' within a community, it is no longer seen as something special but rather becomes something that members use as a matter of course. Members become part of the community through their interactions with these objects.
{| width=80% align=center
|<pre style=" background:#D5FFAC; color:black;">
사물은 단순한 도구 이상의 의미를 가지며, 실천 공동체의 중요한 구성원처럼 활동을 중재한다. 사물은 그 공동체에서 구성원들 간의 상호작용을 가능하게 하고, 새로운 구성원이 공동체에 적응하고 인정받는 데 중요한 역할을 한다. 따라서, 사물은 실천 공동체의 핵심적인 매개체로서 공동체의 구성원처럼 기능하는 것.
</pre>
|}

'''Trajectory of membership and ambiguity'''<br>She states that people move along a '''trajectory''' of belonging within a community of practice. This trajectory represents the process by which individuals gradually adapt to the community, develop a sense of belonging, and ultimately become full members.

'''From illegitimate peripheral participation to full membership'''<br> 이 과정은 단순히 지식을 쌓는 것만이 아니라, 공동체 내에서 어떻게 행동하고 소통하는지를 배워나가는 과정을 말한다. 학습은 단순한 정보의 습득이 아니라, 소속감과 구성원으로서의 정체성을 형성하는 과정이라는 뜻입니다. 또한 저자는 소속 과정을 다르게 해석하기 위해, 여기서 중요한 역할을 하는 요소로 '''사물과 그것의 자연화 과정'''을 추가한다. 사물과의 상호작용이 소속의 필수 조건(sine qua non)이라는 뜻이며, 소속의 궤적에서 중요한 것은 그 공동체에서 사용하는 사물들과 어떻게 관계를 맺고, 그것들이 자연스럽게 익숙해지는지의 여부인 것이다.
<br>
<br>
==Boundary Objects==
===Borderlands and Monsters - limitations of traditional sociology and functionalism===
저자는 전통 사회학은 내부자(insiders)와 외부자(outsiders)의 관계를 강조하는 기능주의적 색채를 띤다고 말한다. 기능주의는 사회를 안정된 체계로 보고, 그 안에서 각자의 역할과 위치를 정해놓는다. 즉, 사회는 잘 작동하기 위해 각자가 맡은 역할을 하는 구조로 이해되며, 이 구조 안에서 내부자와 외부자의 관계가 성립되는 것이다. 그러나 기능주의는 사물의 본질이나 다중의 정당한 소속(즉, 한 사람이 여러 공동체에 속하는 것)을 다루지 않는다. 기능주의적 시각에서는 사람이 하나의 고정된 소속만을 가질 수 있는 것처럼 보이지만, 실제로는 많은 사람들이 다양한 정체성과 소속을 동시에 가지는 복잡한 상황에 놓여 있다는 것을 지적한다.
'''경계지대와 몬스터와의 관계'''
우리가 다양한 소속과 자연화 과정을 동시에 생각한다면, 경계지대와 몬스터라는 개념을 연결하는 관계적 지도를 그릴 수 있다.
'''Monster:''' occurs when an object refuses to undergo naturalization. Again, ‘Naturalization’ refers to the process by which a particular object or concept is accepted as natural and commonplace within a community. However, a monster resists this process of naturalization, remaining a strange and unfamiliar presence within the community.<br>
'''Borderland:''' arises when two communities of practice coexist within one person. For example, when an individual holds two or more identities or affiliations at the same time, that person is in the borderland. This concept, proposed by '''Gloria Anzaldúa''', explains that people in the borderland have multiple affiliations but do not fully belong to any one of them.
<blockquote>
…And feminism has had a great deal to say about this, for borderlands are the naturalized home of those monsters known as cyborgs.
</blockquote>
<blockquote>
In a practical sense, this is a way to talk about what happens to experience in the science classroom when someone comes in with no experience of formal science. '''It is not simply a matter of the strangeness, but of the politics of the mapping between the anomalies and the forms of strangeness/marginality.'''
</blockquote>
{| width=80% align=center
|<pre style=" background:#D5FFAC; color:black;">
사이보그는 인간과 기계의 경계를 넘는 존재로, 하나의 공동체에 속하지 않으며 경계에 위치한 존재이다. 도나 해러웨이는 사이보그를 고정된 정체성이나 사회적 범주에 얽매이지 않는 존재로 설명하며, 이는 경계지대에서 나타나는 몬스터들과 연결된다.

전통 사회학이 고정된 내부자/외부자의 관계를 다루지만, 실제로는 많은 사람들이 다양한 공동체에 속해 있고, 사물의 자연화에 저항하는 경우도 있다. 경계지대는 다양한 소속이 공존하는 공간이며, 그곳에서 자연화되지 않는 몬스터가 등장할 수 있으며, 이러한 경계적 존재는 사이보그와 같이 페미니즘 담론에서 중요한 역할을 한다.

"이것이 바로 사이보그의 진정한 가능성입니다. 학자들에게, 이것은 반드시 학제 간의 경계지대에서 이루어지는 탐구이며, 사람, 사물, 그리고 표현 기술 간의 전통적인 경계를 넘나드는 것입니다."
</pre>
|}

==The relational nature==
===many-to-many relational mapping===
: A mapping between multiple marginality of people(borderlands and monsters) and multiple naturalizations of objects(boundary objects and standards)

사람들은 종종 여러 실천 공동체에 속해있지만 그 안에서 완전히 받아들여지지 않거나 경계에 위치한 존재로 경험될 수 있다. 이러한 주변성을 가진 사람들은 경계지대(borderlands)와 몬스터(monsters)처럼 두 공동체 사이에 위치하게 되는데 반면, '''경계 객체(boundary objects)와 표준(standards)은 여러 공동체가 서로 다른 방식으로 의미를 공유할 수 있게 해주는 사물이다.'''<br> 이 매핑 모델은 여러 주변성을 가진 사람들과 다양한 실천 공동체에서 여러 방식으로 자연화된 객체 간의 관계를 형성한다. 예를 들어, <u>'''경계 객체'''는 서로 다른 공동체가 각자의 필요에 따라 자유롭게 해석할 수 있는 유연성을 가지며, '''표준'''은 여러 공동체에서 공통으로 사용될 수 있다.</u><br><br>이 매핑 관계는 시간이 지나면서 두 가지 방식으로 발전한다.<br> 1. 개인과 집단이 경계지대에서 통합된 자아를 형성하는 과정 (i.e. 콜린스와 안잘두아의 연구)<br> 2. 지속 가능한 경계 객체를 창조하여 여러 공동체가 서로 다른 관점을 공유할 수 있는 기반 마련.

<blockquote>
Over time, the mapping is between the means by which individuals and collectives have managed the work of creating coherent selves in the border lands (e.g., Collins, Anzaldúa) on the one hand, and to create '''<mark>[[/durable boundary objects| durable boundary objects]]</mark>''' on the other.
</blockquote>
===many-to-many to meta-relational===
<blockquote>
The map must point '''simultaneously''' to the articulation of selves and the naturalization of objects.<br> One of the things that is important here is honoring (I won’t say capturing) the work involved in borderlands and boundary objects.
</blockquote>
'''1.다대다 관계성을 넘는 메타-관계성'''<br>: 다대다 관계란 여러 공동체와 여러 객체 간의 상호작용을 뜻하지만, 메타-관계성은 '''그 상호작용을 더 포괄적으로 바라보는 시각'''을 말한다. 즉, 자아의 정체성과 객체의 의미가 함께 '''연결된 방식'''으로 나타나며, 이들 사이의 관계는 그 자체로 상위 개념으로 다루어야 한다는 의미입니다.

'''2.자아의 표현과 객체의 자연화'''<br>: 자아의 표현(articulation of selves)은 개인이나 집단이 자신을 정의하고 표현하는 방식을 의미하고, 객체의 자연화(naturalization of objects)는 그 객체가 공동체 안에서 당연하게 받아들여지는 과정을 뜻한다. 여기서 메타-관계성은 이 두 가지가 동시에 일어나고 서로에게 영향을 미치는 관계로 바라봐야 한다는 뜻.

'''3.경계지대와 경계 객체에서의 작업 존중'''<br>: 저자는 경계지대와 경계 객체와 관련된 작업을 존중하는 것의 중요성을 강조한다. '''여기서 경계지대와 경계 객체는 사람들이 다중 공동체에 속하면서 자아를 표현하고 객체의 의미를 형성해가는 경계적 작업을 상징한다.''' 저자는 이를 존중해야 한다고 표현하는데, 여기서 ‘포착(capturing)’이라는 단어 대신 ‘존중(honoring)’을 사용한 이유는 이러한 작업이 단순히 기록되거나 하나의 틀에 맞춰지는 것이 아니라, 존중받고 이해되어야 하는 역동적인 과정임을 강조하기 위함입니다.
<blockquote>
This work is almost necessarily invisible from the point of view of any single community of practice: as Collins points out, what white person really sees the work of self-articulation of the black person who is juggling multiple demands/audiences/contingencies? '''It is not just willful blindness (although it can be that), but much more akin to <mark>[[/the blindness between different Kuhnian paradigms| the blindness between different Kuhnian paradigms, a revolutionary difference]].''' Yet the juggling is both tremendously costly and brilliantly artful.
</blockquote>
<br>

==Articulation Work/Invisible Work==
<blockquote>
What is the name for this work of managing the overheads and anomalies caused by multiple memberships on the one hand, and multiply naturalized objects on the other? Certainly, it is invisible. Most certainly, it is methodological, in the sense of reflecting on differences between methods and techniques. <u>It is often invisible. Within both symbolic interactionism and the new field of computer-supported cooperative work, the term '''“articulation work”''' has been used to talk about some forms of this invisible “juggling” work </u> (Schmidt and Bannon 1992; Gerson and Star 1986).
</blockquote>
<blockquote>
'''Canonically, articulation work is work done in real time to manage contingencies; work that gets things back “on track” in the face of the unexpected, that modifies action to accommodate unanticipated contingencies.''' It is richly found for instance in the work of head nurses, secretaries, homeless people, parents, and air traffic control- lers, although of course all of us do articulation work in order to keep our work going.(이는 실시간으로 발생하는 변수들(예를 들어 Suchman의 용어로 ‘상황적 행동(situated actions)’)이 언제나 기술의 사용 방식을 변화시키기 때문.)
</blockquote>
'''발화 작업(articulation work)'''은 서로 다른 사람들이 각각의 기준과 관점에 따라 정보를 해석하고 처리하는 차이를 조율하여 정보가 일관되게 해석되도록 돕는 보이지 않는 과정이다. <u>이 작업이 없으면 각기 다른 정의와 기준으로 입력된 정보들이 하나의 시스템 안에서 일관성을 잃게 된다.</u> 예를 들어, 어떤 사람은 낙태를 범죄로 보고 데이터베이스에서 제외하는 반면, 다른 사람은 이를 의료 행위로 보고 포함시키는 식이다. '''이렇게 다양한 기준이 만들어내는 차이는 데이터 사용자에게 보이지 않기 때문에, 결국 사용자는 이러한 차이가 반영되지 않은 데이터를 통해 편향된 결론을 내리거나 ‘하나의 보편적 진리’로 받아들일 위험에 처하게 된다.''' <u>발화 작업은 바로 이러한 보이지 않는 차이를 드러내고 조정하여, 정보가 균형 있게 해석될 수 있도록 함으로써 다양한 관점이 반영된 해석을 가능하게 하는 것.</u>
<br>
===Articulation work as the role of managing discrepancies between memberships and naturalization===
'''1.mismatches between memberships(소속) and naturalization'''<br>: 서로 다른 공동체에 속한 사람들이 한 곳에서 협력할 때, 각 공동체의 기대와 규범이 다르기 때문에 불일치가 생긴다.
'''2.anomalies management'''<br>: 이상 현상은 예상 밖의 간섭이나 중단을 의미하며, 서로 다른 규범과 기대가 맞물릴 때 발생하는 예기치 않은 상황이다. 이러한 간섭은 어떤 사람이 예상과 다른 행동을 하거나, 특정 객체가 예상된 흐름을 방해할 때 발생한다. 발화 작업은 이런 이상 현상을 추적하고 조율하여, 공동체 간의 협력을 원활하게 하는 역할을 함.
'''3.impossibility of glass box technology'''<br>: 투명 기술은 모든 것을 완전히 투명하게 보여주고 관리할 수 있는 기술을 의미한다. 하지만 여러 공동체가 모일 때는 서로 다른 기대와 규범으로 인해 항상 이상 현상이 발생하기 때문에, 모든 상황을 완벽히 투명하게 관리하는 것은 어렵 -> 서로 다른 공동체가 협력하는 기술은 모든 공동체의 기대를 동시에 충족시키기 어렵고, 이러한 과정에서 차이와 충돌이 생길 수밖에 없다.
'''4.creating monsters'''<br>: 여러 공동체의 다양한 관점과 기대를 인정하지 않고 하나의 기준을 강요할 때 ‘몬스터’가 생긴다고 저자는 계속 설명한다. 여기서 몬스터는 여러 소속과 기준이 충돌하면서 발생한 일관성 없는 시스템이나 소외된 존재를 상징하는데, 서로 다른 정당성을 가진 공동체들이 다중적 기대를 수용하지 않으면, 결국 일부 공동체의 관점이 무시되거나 억압되며, 그 결과 충돌하는 시스템이나 괴리감이 큰 존재가 발생하게 되는 상황.
<br>
===The ideals of transparency and naturalization and their practical limitations===
'''1.the ideal goals of transparency and naturalization'''<br>: 이론적으로는, 자연화의 최종 단계는 모든 객체가 완전한 투명성을 얻는 지점이라고 볼 수 있다. 즉, 객체나 개념이 특정 공동체 안에서 완전히 자연스러워져, 의심이나 설명 없이 당연하게 받아들여지는 상태를 뜻하는 것. 마찬가지로, 소속감의 최종 목표는 공동체의 중심적 역할을 하거나, 완전한 정당성을 획득하는 것이다. 이 상태에서는 공동체의 모든 규범과 기대에 적합한 존재가 되어, 더 이상 의문이나 갈등 없이 인정받게 된다.
'''2.practical limitations'''<br>: 그러나 현실 세계에서는 이러한 상태가 본질적으로 불가능하다는 것이다. 그 이유는 모든 사람에게 다양한 소속감이 있으며, 새로운 구성원이나 이방인이 지속적으로 등장하고, 객체나 개념이 여러 맥락에서 각각 다른 방식으로 자연화되기 때문이다. 따라서 일시적으로 이런 이상적 상태에 가까워지는 순간이 있더라도, 이는 불안정하고 지속되지 못하는 것.
'''3.things that make objects and statuses seem given, durable, real'''<br>: 자연화가 완전한 투명성에 도달하지 못하더라도, 어떤 요소들이 객체와 지위를 현실적이고 견고한 것으로 느껴지게 만드는지가 중요하다.
'''3-1. ? '''<br>: 어떤 객체나 지위가 사회적으로 당연하게 받아들여지고 그 존재가 안정적으로 여겨지게 만든다는 의미. 이는 어떤 개념이나 객체가 하나의 공동체에서 너무나도 익숙해지고 자연스러워져서, 그 존재와 역할에 의문을 품지 않고 마치 필연적이고 당연한 것으로 받아들인다는 뜻.<br>'''e.g. 스마트폰''': 스마트폰은 이제 현대 생활에서 매우 중요한 객체가 되었고, 마치 필수품처럼 여겨진다. 스마트폰의 기능과 역할은 너무도 자연스러워져서, 그 존재 자체를 더 이상 의심하지 않고 당연하게 받아들이게 된 것. 이는 스마트폰이 현실적으로 필수적인 것처럼 느껴지도록 만들어졌음을 뜻한다.<br>'''e.g. 사회적 지위''': 예를 들어, 의사라는 직업의 지위는 공동체 내에서 필수적이고 신뢰받는 역할로 자리 잡아 있다. 사람들은 의사의 존재와 역할을 너무나도 당연하게 받아들이기 때문에, 의사의 지위가 마치 필연적이고 안정적인 것처럼 느껴지게 된 것.

==Generalization and Ethics of Ambiguity==

==Casual vs. Committed Membership==

User:Neoksaal/Personal Reader/All Problems of Notation Will be Solved by the Masses

Neoksaal — Tue, 21 Jul 2026 17:33:00 GMT

Created page with "''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.'' ===The Commodification of Collaboration and the Contradiction of Collaboration in Art=== Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodified and use..."

New page

''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.''

===The Commodification of Collaboration and the Contradiction of Collaboration in Art===

Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodified and used as a tool for generating revenue or enhancing corporate productivity. While originally intended to foster critical and liberatory relationships, collaboration in art risks being reduced to a commercial strategy, losing its intrinsic value and becoming a means to serve capitalist interests.

==FLOSS and Artistic Practice: From Collaboration to Distribution==

Comparing current FLOSS-related art practices with earlier similar artistic forms clarifies the relationship between symbolic production and distributive practices. <u>FLOSS-related art goes beyond mere collaboration by presenting a new distributive model that decentralizes production and enables self-directed creation by others.</u> This suggests that the code-based production methods of FLOSS can influence artistic practices, promoting more autonomous and decentralized forms of creation. <u>The true potential of FLOSS-linked art lies not just in collaboration or legal frameworks, but in expanding the principles of symbolic production into distributive practices, opening up new possibilities for creation <code>흠..?</code></u>. Reinterpreting the FLOSS model as one of autonomous creation through distribution rather than just collaboration can pave the way for new artistic horizons.

===Live Coding, Hacklab===

If live coding is one of the most emblematic artistic expressions of FLOSS, then the hacklab represents its most iconic social form. While these two forms do not occupy the same trajectory, they overlap and complement each other in many significant ways. At their core is the shared principle of '''"enabling production by others."''' This is not merely an issue of distribution at the level of software as a product, but a matter of practice. '''The practice itself is inherently distributive, integrating the dissemination of knowledge about production into the process of production itself. This opens up the possibility for collaborative production, but it is distinct from collaboration.''' While collaborative practice gathers the efforts of many towards a single goal and directs the distribution of their labor, distributive practice enables others to direct their own labor in their own way. This is realized not only as code that creates products but also as an output that serves as a notation with ongoing vitality beyond its initial implementation.

==Notational Production 기보법적 생산==

'''Livecoding works from within a particular relation between notation and contingency. The specificity of code is opened towards the indeterminism of improvisation.'''
'''라이브코딩이 기보법(Notation)과 우연성(Contingency) 사이에서 어떻게 작동하나?'''
* 기보법과 우연성의 관계: 기보법은 전통적으로 음악이나 예술에서 구체적이고 명확한 지시를 제공하는 체계이며, 이는 악보나 코드를 통해 예술가가 의도한 대로 작품을 재현할 수 있게 해준다. 그러나 라이브코딩은 이러한 기보법의 틀을 유지하면서도, 즉흥성이라는 요소를 도입합니다.
* 코드의 구체성과 즉흥성의 불확정성: 라이브코딩에서 사용되는 컴퓨터 코드는 매우 구체적이고 명확한 지시를 포함한다. 그러나 라이브코딩은 이러한 코드를 실시간으로 작성하고 수정하며, 그 과정에서 우연한 결과가 도출될 가능성이 있다. 이 불확정성은 즉흥적인 요소로 작용하여, 코드가 예상치 못한 방식으로 작동하거나 새로운 소리와 구조를 생성할 수 있게 한다.

see reference:
''Free Open Form Performance''
''Umberto Eco, 'Poetics of the Open Work''

==Scratch Orchestra==

==Noise Interrupts==

[https://intuitivemusic.dk/iima/sonsn.pdf Nature Study Notes] are all in the form of text-based instructions. However, <u>few of them explain how to produce sound; instead, '''they focus on various social interactions that structure and address power dynamics among the performers'''.</u> Many of the scores set up small scale 'operating systems', simple organisational structures that enable other works to be produced within them.
The notion of the ''performance as an operating system'' is one that ap have taken up in their Life Coding project. <u>Adapting mechanisms from computer systems, the interaction of performers is dictated by '''interrupt signals''' connected to actions defined in look-up tables.</u>

Edsger Dijkstra, one of the inventors of the interrupt system, noted:
"...the exact moments of the interrupts were unpredictable and outside our control, the interrupt mechanism turned the computer into a nondeterministic machine with a nonreproducible behaviour..."

[[/"Interrupts aren't hidden" | "Interrupts aren't hidden"]]

'''인터럽트와 음악적 진화''' <br> see reference: <br> [https://hub.xpub.nl/bootleglibrary/search?query=Jacques+Attali Jacques Attali, ‘Noise: The Political Economy of Music’] <br> Sun Ra의 Arkestra <br><br> The operating system of Ra's Arkestra incorporated such 'noise' and restructured itself in the process. This <u>''''noise'''' is not simply that of unmusical sound, but also in the sense that Jacques Attali adapts from '''information and systems theory, any material that is not recognised by an existing system, and is therefore opposed to 'information' which is material that has value or significance in a given system'''.</u>

==Schooltime Compositions==
[https://cyberneticzoo.com/cyberneticanimals/1969-the-logo-turtle-seymour-papert-marvin-minsky-et-al-american/ 1969-THE LOGO TURTLE–Seymour Papert et al (Sth African/American) ]

'''…In so far as LOGO expresses of potential actions out of which a drawing emerges it has an analogy to the notations of the Scratch Orchestra, which often did not express sound directly but rather actions from which sound could arise.''' <br>

As Cardew wrote in his notes to Treatise:
‘Notation is a way of making people move.’

Like the Scratch Orchestra, the LOGO Labs grew out of a conscious pedagogical interest directed towards developing forms of collective, self-directed practical research. '''These were realised through semi-structured 'improvisational' activities and used self-developed notational systems as a means of constructing, communicating and reflecting upon these.'''<br>

Papert believed that '''programming was a skill that should be available to everyone not as a 'technology' – a mechanism for manufacture abstracted from human labour – but as a means of conceptual exploration. '''

See also
Ivan Illich - ''Deschooling Society, Tools for Conviviality'' (and others!)

For both Papert and Cardew, pedagogy was a two way thing. <u>The lab and the orchestra broke down distinctions between pupil and tutor, and placed learning in the context of self- directed production. In these ways they were forms of distributive practice.</u>

==Training in Contingency==

An element of the contingent was essential to this. In Papert's eyes, <u>one of the strengths of programming as a tool for learning, was the '''attitude to error''' that it encouraged.</u> <br>

As with the Arkestra, embracing error is a productive possibility.

'''HECKMEM'''<br>
Short for 'hack memo', this was a collection of code snippets and programming ideas distributed amongst the hackers within the AI Labs. Many of the entries utilise possibilities discovered through bugs and inconsistencies within the PDP computers that the AI Lab worked on. Other entries suggest ways that a particular algorithm might be played with, encouraging people to mess around with it in what can only be described as a form of aesthetic code play.

Within the LOGO Labs, code was written and exchanged between students in a similar manner. Rather than planning out programs in advance, pupils would 'improvise' with their code responding to the how the turtle performed and modifying their programs accordingly.
read - eval - print - loop

===Constraints of notation interpretation===

Cardew’s concerns in the development of new notations:

''Opportunity'': notations need not only encode existing patterns or defined systems of sound, but could also be proposals and provocations to create new ones.
<br>
''Danger'': the fact that a trained musician, when confronted with an unfamiliar notation system, rather than responding to it directly, might fall back into their personal predispositions and ingrained habits.
<br><br>
''i.e.'' The amateur jazz musician described by Adorno, unable to stray from the existing models to which he has adapted and subordinated himself. <br> While the trained musician approached a performance with a predefined system of producing sound against which the new notation was interpreted. What was novel in the new notation may simply be responded to as 'error' or noise within that system and therefore avoided.

New notations required performers with a similar attitude to that of the hacker and LOGO Lab student, one who could respond creatively to the unknown and unexpected. <u>The performer, therefore, could not rehearse such music but rather 'trained' for it like a martial art, developing ways of acting upon contingency.</u> This similarly developed through a '''feedback loop of coding-performance''' that formed the basis of Scratch Music practice.

==The Virtues of Practice==
Alasdair MacIntyre understands practices not merely as technical activities but within the ''social'' and ''historical'' relationships in which they are performed.<br>
'''Social''': The relationships that practitioners (members of a community) have with each other. (예를 들어, 동료 음악가들 사이의 협력이나 의사들 사이의 의학적 토론 등.)<br>
'''Historical''': The relationships related to how current practices have developed over time and what influences they have undergone during that development.
<br>
<br>
'''Concept of Internal/external goods'''<br>
'''Internal goods''': The qualities or features that allow a practice to develop and flourish in itself. (예를 들어, 의학에서 새로운 치료법이나 진단법을 개발하는 것. 실천 그 자체를 더 효과적이고 발전하게 만드는 요소)
<br>
'''External goods''': The benefits that result from a practice, which can positively impact others who are not practitioners. (예를 들어, 의학에서 개발된 새로운 치료법이 환자의 건강을 개선시키는 것과 같은 결과)

맥킨타이어의 virtue, ‘덕’의 개념은 실천을 구성하는 목적과 기준을 다른 사람들과 공유하고, 그들과의 관계를 정의하는 내적 선을 의미한다. 덕은 정적인 도덕 규범이 아니라, 실천을 통해 발전하고 변화하는 동적인 특성이다. 이러한 덕 윤리를 바탕으로, 실천practice은 사회적, 역사적 관계 속에서 발전하며, 그 과정에서 내적 선과 외적 선이 형성된다. 이 실천의 미덕은 공동체 내에서 협력하고 발전하는 방식으로 표현되어야한다.

===Ethical direction of FLOSS===

Both free software and open source present collaborative production models, but their directions are fundamentally different. <u>Free software presents a distributive collaboration model, supporting others in determining their production autonomously. MacIntyre would argue that such a practice requires critical judgment and the exercise of virtue, which cannot be subordinated to ‘the routinizable application of rules’.</u><br>

On the other hand, open source presents an accumulative collaboration model, aiming to reduce production costs and increase profit by utilizing others' labor. This can be seen in the shift from positive freedom, which enables self-distribution, to negative freedom, which operates in the free economy, evident in the changes in Creative Commons licenses and the regulatory, goal-oriented (rather than virtuous) sharing of Web 2.0.

===Evolution of practice ethics in the Scratch Orchestra===
Like free software, the history of the Scratch Orchestra can be understood as a process in which a community of practitioners develops their practice ethics. <u>The fact that the constitution was rewritten and revised during the group's existence indicates there was an ongoing evaluation of this definition in relation to that evolving practice.</u>

===Cardew’s ‘Towards an Ethic of Improvisation’===
The essay ends with an outline of seven ‘virtues that a musician can develop,’ including ‘simplicity,’ ‘selflessness,’ and ‘preparedness.’ The virtue of ‘forbearance’ reflects Sun Ra's attitude and is broadly explained as ''‘Overcoming your instinctual revulsion against whatever is out of tune (in the broadest sense)’''.

One of the most important aspects of this essay is that it emphasizes ''improvisation as a form of ‘active life’''. This idea later strongly connects with the activities of the Scratch Orchestra, particularly in their explicit aim to ‘function in the public domain.’

Cardew tells us that virtue is '''‘is viewed to best advantage in action’''' whilst improvisation is only purposeful when ''''it occurs in a public environment' for 'its force depends to some extent on public response.'''' Improvisation, like virtue, depends on a social context and both have value only when realised through actions within such a context.

...improvisation exemplifies virtuosity

==The Praxis of Virtues==

Virno defines virtuosity in terms of two particular qualities.
<br><br>
The first is that of <u>'an activity which finds its own fulfilment (that is, its own purpose) in itself'</u> and therefore has no end product and, like improvisation, no 'object which would survive the performance.’
<br>
The second quality is that it is <u>'an activity which requires the presence of others, which exists only in the presence of an audience.’</u>
<br>
비르노는 이 덕미학을 아리스토텔레스의 정치적 행동 개념, 즉 프락시스(praxis)와 연결한다. '''(포이에시스(poiesis)는 ‘행동과 분리된 산물’을 만드는 것을 목표로 하지만, 프락시스는 행동 자체가 목적.)'''

For Aristotle, the action which finds fulfilment in itself is also the virtuous action, and following from this, MacIntyre describes those who pursue a practice in terms of furthering its internal goods as those who similarly find fulfilment in the activity itself. <u>Virtuosity then could be defined as ''''the performance of a practice at the height of its virtues' and a form of poesis that is realised as praxis.</u>'''
…This is clearly exemplified in Cardew's ethics of improvisation and carries through into the Scratch Orchestra as the conscious creation of a practitioner community based around such an ethic.
<br><br>
Free Software, emphasises the code as something that enters into a continuum of production. It is an 'activity-without-end-product' not in the sense of having no output, but rather in the sense of constantly creating the capacity for production elsewhere. '''The fact that the knowledge of production can be expressed in notation, in the form of source code, is integral to this.'''
<br><br>
This is similarly reflected in the Scratch Orchestra, where the production of notation is emphasized as a continuous and public activity. The Scratch Orchestra's notation-based improvisations differ from those performed without a score. <u>Even though the actual performance may not be repeated, the capacity for production elsewhere remains.</u> '''Therefore, notation not only preserves the history of how a practice develops, thereby aiding in the advancement of its internal goods, but also plays a role in expanding these internal goods into external goods by enabling them to be conveyed to others.'''

User:Neoksaal/Personal Reader

Neoksaal — Tue, 21 Jul 2026 17:32:12 GMT

← Older revision		Revision as of 17:32, 21 July 2026
Line 1:		Line 1:
	~~<br>~~
	~~<br>~~
	📖		📖
	------------		------------

User:Neoksaal/Personal Reader

Neoksaal — Tue, 21 Jul 2026 17:31:58 GMT

Created page with "<br> <br> 📖 ------------ All Problems of Notation Will be Solved by the Masses Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology Georges Perec's Thinking Machines ● The Laurence Rassel Show..."

New page

<br>
<br>
📖
------------

[[/All Problems of Notation Will be Solved by the Masses | All Problems of Notation Will be Solved by the Masses]]

[[/Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology | Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology]]

[[/Georges Perec's Thinking Machines | Georges Perec's Thinking Machines]] ●

[[/The Laurence Rassel Show | The Laurence Rassel Show]]

[[/The Truth of Fact, the Truth of Feeling | The Truth of Fact, the Truth of Feeling]] ●

[[/Utopia of Rules | Utopia of Rules]]

[[/Post Truth | Post Truth]] ●

[[/Can Jokes Bring Down Governments? | Can Jokes Bring Down Governments?]]

[[/The Carrier Bag Theory of Fiction | The Carrier Bag Theory of Fiction]] ●

------------
[[/Breaking Things at Work | Breaking Things at Work]] ○

[[/Blood in the Machine: The Origins of the Rebellion Against Big Tech | Blood in the Machine: The Origins of the Rebellion Against Big Tech]] ○

[[/Imaginary Languages | Imaginary Languages]] ○

[[/Keywords for Radicals | Keywords for Radicals]] ○

[[/Experimental Translation | Experimental Translation]]

[[/Uncreative Writing | Uncreative Writing]] ○

[[/Victor Turner's Ritual process | Victor Turner's Ritual process - commentary (KR)]] ○

[[/Excitable Speech: Politics of the Performative|Excitable Speech: Politics of the Performative]] ○

[[/Bodies That Matter | Bodies That Matter]] ○

[[/Lynette Yiadom-Boakye | Lynette Yiadom-Boakye]]

[[/Cybernetics and Ghosts |Cybernetics and Ghosts]]

------------
[[/Executing Micro-temporality|Executing Micro-temporality]]

[[/The Ends of the World|The Ends of the World]] ○

------------
[[/The Crisis of Narration (KR)|The Crisis of Narration (KR)]]
<br>
<br>
<br>
📑
------------
[[/Beyond Follows: Trust In Computing | Beyond Follows: Trust In Computing]]

[[/What the Luddites Really Fought Against | What the Luddites Really Fought Against]]

[[/Tactical Design | Tactical Design]]

[[/Looking back and not behind. On the concept of Performativity | Looking back and not behind. On the concept of Performativity]]

[[/House of dust | House of dust]]

[[/My website is a shifting house next to a river of knowledge | My website is a shifting house next to a river of knowledge]]

[[/By Our Powers Combined |By Our Powers Combined]]

[[/Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines|Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines]]

[[/Time Consciousness and Discipline in the Industrial Revolution |Time Consciousness and Discipline in the Industrial Revolution]]

[[/The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics|The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics]]

------------
[[/The Impossibility of Interface|The Impossibility of Interface]]

[[/Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance|Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance]]

[[/Political Ritual and Social Integration |Political Ritual and Social Integration]]

[[/The Bare Facts of Ritual |The Bare Facts of Ritual]]
<br>
<br>
<br>
🎥
------------
[[/Lola rennt, Stranger than fiction | Lola rennt, Stranger than fiction]]

[[/How To with John Wilson | How To with John Wilson]]

[[/The Act of Killing, The Look of Silence | The Act of Killing, The Look of Silence]]

User:Neoksaal/Glossary

Neoksaal — Tue, 21 Jul 2026 17:30:02 GMT

Created page with "=<div style="font-family: monospace; font-size: 25px; float: right;">'''A'''</div>= ==<span style="font-family: monospace; font-size: 25px;">'''Absurdity'''</span>== <div style="display: flex;"> <div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;"> </div> <div style="flex: 7; text-align: left; font-size: 15px;"> </div> </div> ==<span style="font-family: monospace; font-size: 25px;">'''Alternative Data'''</span>== <div style="display: flex;"> <div style=..."

New page

=<div style="font-family: monospace; font-size: 25px; float: right;">'''A'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Absurdity'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
==<span style="font-family: monospace; font-size: 25px;">'''Alternative Data'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [https://en.wikipedia.org/wiki/Alternative_data_(finance) Alternative Data (finance), wikipedia]<br>
<br>
<sup>2</sup> [https://www.investopedia.com/what-is-alternative-data-6889002 What Is Alternative Data?, Investopedia]<br>
<br>
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
==<span style="font-family: monospace; font-size: 25px;">'''API'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
==<span style="font-family: monospace; font-size: 25px;">'''API-fication'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
==<span style="font-family: monospace; font-size: 25px;">'''Automation'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [https://www.ibm.com/think/topics/automation#:~:text=Automation%20is%20the%20application%20of,outcomes%20with%20minimal%20human%20input. What Is Automation? - IBM]<br>
<br>
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
<br>
"Automation is the application of technology, programs, robotics or processes to achieve outcomes with minimal human input." <sup>1</sup><br>
<br>
---------------------------------
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''B'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Bloomberg Terminal'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>

=<div style="font-family: monospace; font-size: 25px; float: right;">'''E'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Epistemic Infrastructure'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>

=<div style="font-family: monospace; font-size: 25px; float: right;">'''F'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Framing Device'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
==<span style="font-family: monospace; font-size: 25px;">'''Fallacy of composition'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
==<span style="font-family: monospace; font-size: 25px;">'''Faulty generalization'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''H'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Headline'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [https://thereader.mitpress.mit.edu/headlines-journalism/ Papacharissi, Z. 2019. ''The Importance of Being a Headline''. MIT Press]<br>
<br>
<sup>2</sup> Grusin, R. 2010. ''Premediation: Affect and Mediality After 9/11''. Palgrave Macmillan.<br>
<br>
<sup>3</sup> [https://generative-ai-newsroom.com/personalizing-newsletter-headlines-testing-llms-against-human-editors-6f14135089da Hagar, N. 2025. ''Personalizing Newsletter Headlines: Testing LLMs Against Human Editors''. Medium]
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
<br>
The first linguistic point of contact between a news article and its reader.<br>
The shortest unit that determines whether the article gets read.<br>
<br>
---------------------------------
===as Framing Device===
Media scholar Robert Entman defined framing as selecting "some aspects of a perceived reality to make them more salient in a communicating text." A headline is the first stage of that framing. The same event can be shown as entirely different stories depending on which aspects of it get selected to be represented. Making a headline involves a lot of choices, on which detail to lead with, which angle to take, which words to use, and they are often guided by news values like recency, urgency, proximity, and dominant ideologies, which determine what gets included and what gets left out. A headline offers a lens through which to understand the story.<sup>1</sup><br>
<br>
---------------------------------
===as Affect===
"There is a soft drama to the process of reading the news, which is always engulfed in our everyday routine, whether that involves reading the newspaper in print form or browsing through a news site on one's phone on the train to work. There is emotion involved in how we approach and become entranced by the process of following the news; this is both a social and information seeking process."<sup>1</sup><br>
<br>
"Richard Grusin's concept of premediation<sup>2</sup> describes how headlines, particularly in the format of the news scroller, has dictated the stylistic and visual presentation of news online. It is a form that induces anticipation, and with that, anxiety; a state of always expecting the new. According to Grusin, the form itself tends to produce feeling."<br>
In that sense, the news ticker, a format built around the continuous flow of headlines, operates as some kind of an affective architecture too.<br>
"Newer platforms have amplified this further. Headlines are always already new, always already urgent, always already demanding a response."<sup>1</sup><br>
<br>
---------------------------------
===as Economic Unit===
Headlines exist within the economics of attention, espeicially within this ad-driven media economy. Long time ago newsboys yelling headlines on street corners were doing the same thing. Between then and now, what changed is the speed and precision of the feedback loop between headline and reader response.<br>
To sell the news better, news organizations have continued by packaging information into its most attention-grabbing elements, headlines included, and optimizing them to drive engagement. Click-through rate analysis and A/B headline testing are a common scheme.<sup>1</sup> On top of that, now researches into LLM-based personalized headline generation exist, the technology is already there and apparently it's very easy to deploy them, and there is little to no reason for news organizations to not move in that direction. The personalized headline generation makes it possible for two readers to see different headlines for the same news article.<br>There's barely a way that a reader can know whether the headline they see was written by an editor or generated by algorithm. In its worst form, headlines are written for a user's behavioral profile, not for a reader(imagined, not targeted).<sup>3</sup>
<br>
<br>
---------------------------------
===in news API===
In news APIs, headlines are represented in the <code>title</code> field.
<br>
<br>
---------------------------------
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>

=<div style="font-family: monospace; font-size: 25px; float: right;">'''I'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Information'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [https://monoskop.org/images/4/47/Brand_Stewart_The_Media_Lab.pdf Brand, S. 1987. ''The Media Lab, Inventing the Future at MIT'', Viking]<br>
<br>
<sup>2</sup> [https://thereader.mitpress.mit.edu/headlines-journalism/ Papacharissi, Z. 2019. ''The Importance of Being a Headline''. MIT Press]<br>
<br>
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
<br>
Data, facts, or knowledge conveyed in some form that makes unknown known.<br>
<br>
---------------------------------
===Information wants to be free. Information also wants to be expensive.===
"Information wants to be free because it has become so cheap to distribute, copy, and recombine— too cheap to meter. It wants to be expensive because it can be immeasurably valuable to the recipient. That tension will not go away."<sup>1</sup><br>
<br>
<div style="border-top: 1px dotted black;"></div><br>
"Unlike other commodities that are bought and sold in economic markets, information does not possess a tangible material basis. So do a lot of services, but what makes information unique as a commodity is its abstract nature.
Information cannot be sold, produced or distributed in distinct units. Unlike other goods, it cannot be completely used up or consumed. Even when sold, it still remains with the producer. Most importantly, it is valued differently by each
potential customer. For all these reasons, information remains an elusive commodity; as the writer and futurist Stewart Brand quipped, it ‘wants to be free.’ It remains a subjectively defined entity with a particular kind of ‘lightness’ that makes it difficult to trade."<sup>2</sup><br>
</div>
</div>
<br>
<br>
==<span style="font-family: monospace; font-size: 25px;">'''Information Delivery'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [https://newsdata.io/documentation#response-object Response-object, newsdata.io]<br>
<br>
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
<br>
A system through which information is formatted, moved, and delivered via various media.<br>
<br>
---------------------------------
===In the context of news===
(gathered from thesis)<br>
Information delivery is a political process. It determines what deserves our attention, and in doing so, shapes how we perceive reality. In this process, journalism functions as a system of selection. As sociologist Herbert Gans put it, journalism is fundamentally about "deciding what is news" (quoted in Zelizer et al., 2021, ch. 4). When something “made the news”, it meant that it had crossed the threshold from a private occurrence to a publicly recognizable reality. Media scholar Jung Joonhee argues that the authority of journalism came not so much from its ability to verify facts, but from its practical monopoly over the gatekeeping process. Events that are not recognized as news generally remained outside public reality, circulating as rumor or peripheral knowledge (RohMoohyun Foundation, 2024).<br>
<br>
And today, that power has moved beyond the newsroom. Platform algorithms have taken over, but they work differently. While legacy media picks and integrates fragments into a single order such as a newscast or a print edition, platform algorithms work by breaking that formal unity, delivering different fragments of information to different people. And the criteria of this new gatekeeper are invisible and practically impossible to hold accountable. As computer scientist Arvind Narayanan (2023) points out, platform companies have shared very little about what their engagement-optimizing algorithms actually do to society, and the algorithms themselves are complex enough that even people inside the platforms can't fully trace their effects.<br>
<br>
---------------------------------
===In the context of API===
Information delivery operates on a request-and-response structure. For some reason this mechanism was so hard for me to understand no matter how many kitchen-menu-customer metaphors there were to find. When someone sends a query, structured data returns as a response object. In this process, information is broken down into usable, modular fields. And a person or entity that develops an API decides which fields exist and which do not, which means the design of an API is already a decision about who it's built for and what they need from it.<br>
<br>
---------------------------------
===In the context of news API===
information delivery is the process where the gatekeeping of news meets the structured modularity of an API. It's highly optimized to convert mass news coverage into standardized data fields for rapid, algorithmic processing.<br>
<br>
For example, a news API can provide sentiment analysis as a service, processing scraped news content through Natural Language Processing(NLP) to convert it into a quantifiable sentiment score ranging from -1 (negative) to +1 (positive), which allows the finance and marketing industries to analyze thousands of news articles in milliseconds to assess risk or assign market values. It felt so off when I first found out about this. The news content fed into this pipeline has already passed through the gatekeeping process of news agencies and organizations. And the majority of those organizations are owned by a very small group of people.<br>
<br>
Then I thought about the origin of news business. The earliest newspapers, like the ones printed for 17th-century Dutch merchants in Amsterdam, were there to track shipping and the lastest commodity prices. The bedrock of modern news delivery has always been rooted in capitalism.<br>
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''M'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Misuse'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''N'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''News'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
</div>
<br>
<br>
==<span style="font-family: monospace; font-size: 25px;">'''Nonsense'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
<sup>1</sup> [[User:Zuhui//Personal Reader/Can Jokes Bring Down Governments?| 📖 ''' ''Can Jokes Bring Down Governments?'' ''']]
</div>
</div>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''P'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Perceived Reality'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
==<span style="font-family: monospace; font-size: 25px;">'''Public Reality'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
</div>
</div>
<br>
<br>
<br>
<br>
<br>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>
=<div style="font-family: monospace; font-size: 25px; float: right;">'''R'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Reductive Abstraction'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
{{youtube|Wor0ndbxqOw}}
</div>
</div>
<div style="float:right; font-size:20px;">[[:#top|▲]]</div>

=<div style="font-family: monospace; font-size: 25px; float: right;">'''S'''</div>=
==<span style="font-family: monospace; font-size: 25px;">'''Sentiment'''</span>==
<div style="display: flex;">
<div style="flex: 3; text-align: left; font-size: 11px; padding: 6px;">
</div>
<div style="flex: 7; text-align: left; font-size: 15px;">
===in Response object===
</div>
</div>
<br>
<br>

User:Neoksaal

Neoksaal — Tue, 21 Jul 2026 17:29:41 GMT

Created page with "<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" > <p style="font-family: monospace";> ::: / Trouble Shooting :: / Projects :: / PMOMMs<br> :::: / Glossary<br> ::::: / Annotated Bibliography<br> :::::: / Personal Reader<br> ::: / Prototyping<br> :::: / How to ( )<br> ::::: / Links<br> <..."

New page

<div style="text-align: left; font-size:18px; margin: auto; width: fit-content;" >
<p style="font-family: monospace";>
::: [[/Trouble Shooting|/ Trouble Shooting]]
:: [[/Projects|/ Projects]]
:: [[/PMOMMs| / PMOMMs]]<br>
:::: [[/Glossary|/ Glossary]]<br>
::::: [[/Annotated Bibliography|/ Annotated Bibliography]]<br>
:::::: [[/Personal Reader|/ Personal Reader]]<br>
::: [[/Prototyping|/ Prototyping]]<br>
:::: [[/How to ( )|/ How to ( )]]<br>
::::: [[/Links|/ Links]]<br>
</p>
</div>

User:Neoksaal/

Neoksaal — Tue, 21 Jul 2026 17:28:38 GMT

Blanked the page

← Older revision		Revision as of 17:28, 21 July 2026
Line 1:		Line 1:
	hi
	~~[[/Glossary \|/ Glossary]]~~

MediaWiki:Sidebar

Neoksaal — Tue, 21 Jul 2026 17:28:20 GMT

← Older revision		Revision as of 17:28, 21 July 2026
Line 5:		Line 5:
	** helppage\|help-mediawiki		** helppage\|help-mediawiki
	* ta		* ta
			** User:Neoksaal\| Notes2
	** Notes\|Notes		** Notes\|Notes
	** Special:Upload\|Upload file		** Special:Upload\|Upload file

User:Neoksaal//Glossary

Neoksaal — Tue, 21 Jul 2026 17:27:33 GMT

Created page with "."

New page

User:Neoksaal/

Neoksaal — Tue, 21 Jul 2026 17:27:26 GMT

← Older revision		Revision as of 17:27, 21 July 2026
Line 1:		Line 1:
	hi		hi
			[[/Glossary \|/ Glossary]]

User:Neoksaal/

Neoksaal — Tue, 21 Jul 2026 17:27:09 GMT

Created page with "hi"

New page

/Personal Reader

Neoksaal — Tue, 21 Jul 2026 17:18:57 GMT

Blanked the page

← Older revision		Revision as of 17:18, 21 July 2026
Line 1:		Line 1:
	~~<br>~~
	~~<br>~~
	📖
	~~------------~~

	~~[[All Problems of Notation Will be Solved by the Masses \| All Problems of Notation Will be Solved by the Masses]]~~

	~~[[Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology \| Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology]]~~

	~~[[Georges Perec's Thinking Machines \| Georges Perec's Thinking Machines]] ●~~

	~~[[The Laurence Rassel Show \| The Laurence Rassel Show]]~~

	~~[[The Truth of Fact, the Truth of Feeling \| The Truth of Fact, the Truth of Feeling]] ●~~

	~~[[Utopia of Rules \| Utopia of Rules]]~~

	~~[[Post Truth \| Post Truth]] ●~~

	~~[[Can Jokes Bring Down Governments? \| Can Jokes Bring Down Governments?]]~~

	~~[[The Carrier Bag Theory of Fiction \| The Carrier Bag Theory of Fiction]] ●~~


	~~------------~~
	~~[[Breaking Things at Work \| Breaking Things at Work]] ○~~

	~~[[Blood in the Machine: The Origins of the Rebellion Against Big Tech \| Blood in the Machine: The Origins of the Rebellion Against Big Tech]] ○~~

	~~[[Imaginary Languages \| Imaginary Languages]] ○~~

	~~[[Keywords for Radicals \| Keywords for Radicals]] ○~~

	~~[[Experimental Translation \| Experimental Translation]]~~

	~~[[Uncreative Writing \| Uncreative Writing]] ○~~

	~~[[Victor Turner's Ritual process \| Victor Turner's Ritual process - commentary (KR)]] ○~~

	~~[[Excitable Speech: Politics of the Performative\|Excitable Speech: Politics of the Performative]] ○~~

	~~[[Bodies That Matter \| Bodies That Matter]] ○~~

	~~[[Lynette Yiadom-Boakye \| Lynette Yiadom-Boakye]]~~

	~~[[Cybernetics and Ghosts \|Cybernetics and Ghosts]]~~

	~~------------~~
	~~[[Executing Micro-temporality\|Executing Micro-temporality]]~~

	~~[[The Ends of the World\|The Ends of the World]] ○~~


	~~------------~~
	~~[[The Crisis of Narration (KR)\|The Crisis of Narration (KR)]]~~
	~~<br>~~
	~~<br>~~
	~~<br>~~
	📑
	~~------------~~
	~~[[Beyond Follows: Trust In Computing \| Beyond Follows: Trust In Computing]]~~

	~~[[What the Luddites Really Fought Against \| What the Luddites Really Fought Against]]~~

	~~[[Tactical Design \| Tactical Design]]~~

	~~[[Looking back and not behind. On the concept of Performativity \| Looking back and not behind. On the concept of Performativity]]~~

	~~[[House of dust \| House of dust]]~~

	~~[[My website is a shifting house next to a river of knowledge \| My website is a shifting house next to a river of knowledge]]~~

	~~[[By Our Powers Combined \|By Our Powers Combined]]~~

	~~[[Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines\|Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines]]~~

	~~[[Time Consciousness and Discipline in the Industrial Revolution \|Time Consciousness and Discipline in the Industrial Revolution]]~~

	[[The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics\|The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics]]


	~~------------~~
	~~[[The Impossibility of Interface\|The Impossibility of Interface]]~~

	~~[[Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance\|Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance]]~~

	~~[[Political Ritual and Social Integration \|Political Ritual and Social Integration]]~~

	~~[[The Bare Facts of Ritual \|The Bare Facts of Ritual]]~~
	~~<br>~~
	~~<br>~~
	~~<br>~~
	🎥
	~~------------~~
	~~[[Lola rennt, Stranger than fiction \| Lola rennt, Stranger than fiction]]~~

	~~[[How To with John Wilson \| How To with John Wilson]]~~

	~~[[The Act of Killing, The Look of Silence \| The Act of Killing, The Look of Silence]]~~

← Older revision		Revision as of 17:36, 21 July 2026
Line 5:		Line 5:
	** helppage\|help-mediawiki		** helppage\|help-mediawiki
	* ta		* ta
	** User:Neoksaal~~\| Notes2~~		** User:Neoksaal\| Notes
	** Notes\|Notes
	** Special:Upload\|Upload file		** Special:Upload\|Upload file
	** Special:ListFiles\|New files		** Special:ListFiles\|New files

← Older revision		Revision as of 17:28, 21 July 2026
Line 5:		Line 5:
	** helppage\|help-mediawiki		** helppage\|help-mediawiki
	* ta		* ta
			** User:Neoksaal\| Notes2
	** Notes\|Notes		** Notes\|Notes
	** Special:Upload\|Upload file		** Special:Upload\|Upload file

← Older revision		Revision as of 17:18, 21 July 2026
Line 1:		Line 1:
	~~<br>~~
	~~<br>~~
	📖
	~~------------~~

	~~[[All Problems of Notation Will be Solved by the Masses \| All Problems of Notation Will be Solved by the Masses]]~~

	~~[[Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology \| Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology]]~~

	~~[[Georges Perec's Thinking Machines \| Georges Perec's Thinking Machines]] ●~~

	~~[[The Laurence Rassel Show \| The Laurence Rassel Show]]~~

	~~[[The Truth of Fact, the Truth of Feeling \| The Truth of Fact, the Truth of Feeling]] ●~~

	~~[[Utopia of Rules \| Utopia of Rules]]~~

	~~[[Post Truth \| Post Truth]] ●~~

	~~[[Can Jokes Bring Down Governments? \| Can Jokes Bring Down Governments?]]~~

	~~[[The Carrier Bag Theory of Fiction \| The Carrier Bag Theory of Fiction]] ●~~


	~~------------~~
	~~[[Breaking Things at Work \| Breaking Things at Work]] ○~~

	~~[[Blood in the Machine: The Origins of the Rebellion Against Big Tech \| Blood in the Machine: The Origins of the Rebellion Against Big Tech]] ○~~

	~~[[Imaginary Languages \| Imaginary Languages]] ○~~

	~~[[Keywords for Radicals \| Keywords for Radicals]] ○~~

	~~[[Experimental Translation \| Experimental Translation]]~~

	~~[[Uncreative Writing \| Uncreative Writing]] ○~~

	~~[[Victor Turner's Ritual process \| Victor Turner's Ritual process - commentary (KR)]] ○~~

	~~[[Excitable Speech: Politics of the Performative\|Excitable Speech: Politics of the Performative]] ○~~

	~~[[Bodies That Matter \| Bodies That Matter]] ○~~

	~~[[Lynette Yiadom-Boakye \| Lynette Yiadom-Boakye]]~~

	~~[[Cybernetics and Ghosts \|Cybernetics and Ghosts]]~~

	~~------------~~
	~~[[Executing Micro-temporality\|Executing Micro-temporality]]~~

	~~[[The Ends of the World\|The Ends of the World]] ○~~


	~~------------~~
	~~[[The Crisis of Narration (KR)\|The Crisis of Narration (KR)]]~~
	~~<br>~~
	~~<br>~~
	~~<br>~~
	📑
	~~------------~~
	~~[[Beyond Follows: Trust In Computing \| Beyond Follows: Trust In Computing]]~~

	~~[[What the Luddites Really Fought Against \| What the Luddites Really Fought Against]]~~

	~~[[Tactical Design \| Tactical Design]]~~

	~~[[Looking back and not behind. On the concept of Performativity \| Looking back and not behind. On the concept of Performativity]]~~

	~~[[House of dust \| House of dust]]~~

	~~[[My website is a shifting house next to a river of knowledge \| My website is a shifting house next to a river of knowledge]]~~

	~~[[By Our Powers Combined \|By Our Powers Combined]]~~

	~~[[Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines\|Counter Clockwise: Unmapping Black Temporalities from Greenwich Mean Timelines]]~~

	~~[[Time Consciousness and Discipline in the Industrial Revolution \|Time Consciousness and Discipline in the Industrial Revolution]]~~

	[[The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics\|The Time of Politics, The Politics of Time, and Politicized Time: An Introduction to Chronopolitics]]


	~~------------~~
	~~[[The Impossibility of Interface\|The Impossibility of Interface]]~~

	~~[[Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance\|Fact-Checking as Epistemic Infrastructure: From Journalistic Gatekeeping to Platform Governance]]~~

	~~[[Political Ritual and Social Integration \|Political Ritual and Social Integration]]~~

	~~[[The Bare Facts of Ritual \|The Bare Facts of Ritual]]~~
	~~<br>~~
	~~<br>~~
	~~<br>~~
	🎥
	~~------------~~
	~~[[Lola rennt, Stranger than fiction \| Lola rennt, Stranger than fiction]]~~

	~~[[How To with John Wilson \| How To with John Wilson]]~~

	~~[[The Act of Killing, The Look of Silence \| The Act of Killing, The Look of Silence]]~~