Nad
Since the beginning
Works in Berlin Germany

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DISCUSSION

Re: Re: isabelle dinoire


Marisa Olson wrote:

> To put it very crudely, we are talking about an act of remixing a
> face.
> Given Linkoln's body of work, it's interesting to juxtapose tissue
> sampling and the sampling of media. It's not my role to overstate or
> impose such an "intention" upon this work, but I think it can
> definitely
> be read in that way.
>

yes i also think one could read it in this way. However
there is something crucially missing in this juxtaposition:

What is so special about Dinoires case? Its not the remixing
of tissue itself. It is the fact that the tissue comes from another
persons face. a dead person. another living.

and that fact is the scary and facinating part of it - not
the way she looks like now or the tissue mixing.
a face is also an interface. it is the bridge from the outside
to the inside. if you meet someone you try to "read in his/her
face". so what tells us her face now?

I do not see that Abes work reflects this
(to my point of view) most important part.
So i miss it.

Moreover I didnt see Isabelle Dinoire speaking, I
saw only Abes video and the first thought i had was:
you can always find someone make an odd face at a moment
and then sample it into a horror face. My computer is
quite slow and so even Marisas beautiful face (in your joint blog video)
stopped sometimes in some awkward positions, which made her look "scary"
once in a while :-).... So why is it so scary to see Isabelle
Dinoire in Abes video?- my guess is that this is only
in part due to the fact of her actual appearance it is mostly due to
what we know about her... the fact of the dual person.

Abes images are truely catching. He did a good job in choosing them.
they are really sticky.
however i cant help it, they remind me of some school yard situation:
there was a girl who was heavily limping due to a polio.
she also had to wear some device. there was a group of boys
watching her and then some of the boys started to mimic her
by limping around. the boys were scared, they were feeling
uneasy and invoking the disrespectful reaction was somehow
helping them. a strange mechanism, but one can observe it
quite often.

i do not want to draw any parallels to your work Abe I have
no idea what your intentions were...this is just what i
got in my head when i saw your video.

Nad

DISCUSSION

Playing pong with and on a doughnut


Find daytars new pong versions: ToPong and EgoPong at
www.daytar.de/art/pong/index.shtml

DISCUSSION

Re: Surveillance of UCLA Professors


Marisa Olson wrote:

> This isn't about new media art, but it is about the cultural use of
> technology. I couldn't resist forwarding it. I'm very tempted to dial
> the
> telephone number.....
>
Hi Marisa,

just a citation from wikipedia
http://en.wikipedia.org/wiki/Bootlegging
"
> ...The illegal sale of many consumer products other than alcohol is often termed Bootlegging as well. Goods such as compact discs, DVDs and OTHER INTELLECTUAL PROPERTY are considered to be "bootleg" if they are replicated without permission of the copyright holder. Unofficial audio recordings of live performances in particular are often called bootlegs.

"

..may be these guys just forgot about that....

nad

DISCUSSION

Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: the random


Eric Dymond wrote:

> so in other words:
> We can only exist in a closed universe.
> Any amount of randomness will always create complex numbers.
> Complexity abounds, randomness however always exists as an
> immeasurable and non-quantifiable condition.
>

Frankly speaking, i haven't understood what you mean.
are you referring to pseudo-random numbers?

However I wanted to remark that we do not know what kind
of universe we are living in.
There is a video called "the shape of space", which
i can recommend:
http://www.geom.uiuc.edu/video/sos/about.html
its about about some aspects of how one could possibly observe
the shape of space.

there is also to remark that we do not really understand
quantum mechanics.

nad

DISCUSSION

Re: Re: Re: Re: Re: Re: Re: Re: the random


Dirk Vekemans wrote:

> Being wrong is excellent, it means you can learn, improve, expand,
> communicate.

yes indeed.

> You need to _want_ to be right all the time, though and not have the
> prospect of you looking ridiculous
> hold you back. Art is meant to be aggressive in that way.
> Besides, we shouldn't be afraid of making stupid mistakes.
> Most of the time in programming is spent on making stupid mistakes,
> debugging your foolishness.
> Learning to live with that is the first thing you need to do.
> And sure, anything you do is bound to look completely ridiculous from
> some
> 'expert'
> point of view. That just means you can expand your concepts some more,
> that
> there's more field to cover, more debugging to do...
>

the context is also important: usually nobody would
think that a beginner who is doing funny things
is ridiculous (well...depends a little bit on what
he does..:-))...if you call yourself an expert and
would do the same as the beginner then that may look differently....
this being ridiculous thing is good and bad---
on one hand it makes people be more serious and careful on what they do
on the other hand it may block them.
the setting plays also a role.

> Deleuze, the philosopher, has been known to make some
> serious
> mistakes when venturing outside his own field of clarity, into the
> realm of
> hard-boiled science. Mistakes like that are inavoidable. But his
> willingness
> to go there, and be serious about it, has been enormously rewarding
> for
> everyone.
>
what mistakes did he make?

> One of the things scientist need to realise, perhaps, is that their
> wordings, the mental states underlying their hard work are equally
> tainted
> with fiction, human oddities and the restraints of the one tool we
> share:
> our brain. When you start using visualisation as a scientific method
> for
> instance, picking the colours can become a matter of bending the
> virtual
> reality your way.

i wouldnt say bend, but yes the perception is different.

>Its a matter of second level recursive processing:
> you're
> using code to construct models to visualise models of constructs of
> code in
> order to enhance your coding capabilities. In nature, when such
> processes
> are active, a tree can only become a tree, a desert is bound to look
> like a
> desert.

may be i understand what you want to say, but math is different
from the other sciences. simplistically -math IS the code, you do
not construct MODELS. probably you meant mathematical
code may be used to model something real, like in physics?.
thats another thing.

in math a circle IS a circle, its not a MODEL for something
unearthly pure and unreal as a circle....

mathematical code comes out of itself. i like more
the thought that humans just
find the code (may be in their brains..) and try to write
it down and find more with it. you may
ask wether they are capable of finding the right things,
but thats another question.
math visualization is actually not very important for math.
its used only in a few areas and even there
its mostly used for plausibility arguments or didactics.
computer algebra programs are a little different and there
is quite some discussion about their use in the math community.

> But surely, a tree is not a tree : it cannot be reduced (by
> what
> Whitehead calls the fallacy of misplaced concreteness) to the object
> tree,
> or for that matter, the word tree. That would be arresting the
> recursive
> process in favour of manageability in another process, reducing the
> external
> determination of the process to random inputs. That's fine for
> modelling
> purposes, but when you're modelling you are partaking in a similar
> process
> of recursiveness.

this i didnt get. ?

As much as we'd like to sometimes, we cannot
> eliminate
> time from our thinking itself.
>
> One can, however, engineer interruptions into these second level
> recursive
> behaviours. Interruptions are, in my Derridian-Heraclitian-Leibnizian
> textbook, incidents of absence mainly responsible for the creation of
> meaning. Interruptions are at the heart of poetic processes, they
> consume
> time instead of being consumed through it, they are the result of the
> fertile but equally aggressive acts of propagation of meaning. The
> word,
> each word, as a big bang. That btw, is also why our misery will always
> be
> one of an erotic nature. We'll always be running into things we make
> ourselves:
>
this i also didnt get may be i am too tired--

>
> GROSSE GL�HENDE W�LBUNG
> Mit dem sich
> Hinaus- und hinweg-
> W�hlenden Scharzgestirn- Schwarm:
>
> DER VERKIESELTEN Stirn eines Widders
> Brenn ich dies Bild ein, zwischen
> Die H�rner, darin
>
> In Gesang der Windungen, das

IM Gesang ?

> Mark der geronnenen
> Herzmeere schwillt.
>
> Wo-
> Gegen
> Rennt er nicht an?
>
> Die Welt ist fort, ich muss dich tragen.
>
> (Paul Celan, Atemwende, 1967)
>
>
>

..