https://pzwiki.wdka.nl/mw-mediadesign/api.php?action=feedcontributions&user=Tancre&feedformat=atomXPUB & Lens-Based wiki - User contributions [en]2024-03-29T08:54:15ZUser contributionsMediaWiki 1.38.2https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Draft_Methodology_lotte.pdf&diff=256956File:Draft Methodology lotte.pdf2024-01-07T16:19:46Z<p>Tancre: Tancre moved page File:Draft Methodology lotte.pdf to File:Draft Methodology.pdf</p>
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<div>#REDIRECT [[File:Draft Methodology.pdf]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Draft_Methodology.pdf&diff=256955File:Draft Methodology.pdf2024-01-07T16:19:46Z<p>Tancre: Tancre moved page File:Draft Methodology lotte.pdf to File:Draft Methodology.pdf</p>
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<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Draft_Methodology.pdf&diff=256954File:Draft Methodology.pdf2024-01-07T16:18:34Z<p>Tancre: Tancre reverted File:Draft Methodology lotte.pdf to an old version</p>
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<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Tancre/others/show%26tell&diff=196618User:Tancre/others/show&tell2021-09-01T20:25:34Z<p>Tancre: </p>
<hr />
<div>=Show & Tell =<br />
<br />
My object is a book.<br />
The most common and classical object related to standard publishing but that still rules the world and is part of my main interests along with music. <br />
What I love in books is not the material object itself, even if the book has an ideal and practical form as almost a perfect design that I appreciate particularly. But my interest in books is related to their content, to the story they tell, as literature. Even a scientific or philosophical book, can still be a piece of literature. Under this passion of mine for literature, a more ontological passion is hidden, that more than a passion I feel it like a necessity that constantly pushes me, even if I'm not conscious about it. This daemon is language.<br />
I see language as the main expression of our cognitive limits but, as a form of art, in literature, language acquires a meaning outside of its material representation that mirrores our life, divided between an apparently closed material world and an apparently open spiritual world, the world of our minds.<br />
<br />
The book I have here is not just an object but it contains a labyrinth of language that acquires a meaning overtaking its material form. This book is 'The Philosophical Investigations’ by Ludwig Wittgenstein. Wittgenstein is a philosopher involved in logic and language who wrote two books that represent two phases of his thought and almost two opposite visions of life. His first book is called 'Tractatus logico-philosophicus' (I've made a project with it that you can check on my website), in which he attempted to explain the universe as a logical system that already contains in itself all the possibilities of its expression. By doing this Wittgenstein must use language, and according to his idea, it mirrored the universe in the moment that it acquired a meaning, and that meaning is the logical consequence of the explanation of itself and so of the universe. This book is very complicated and obscure and hides a dogmatic vision of the world and language as perfect logical diamonds.<br />
I really love logic and science and this book represents exactly how I love to analyse the world around me almost as a logical machine starting from the historical beginning and developing all the possibilities to make the whole. <br />
<br />
But Wittgenstein wrote another book, the one I have here and that I've not read yet, but which I will start reading today. In this book he changes his mind and finds out that language is not so logical but is almost a game, when we talk and we communicate, we are playing a linguistic game in which who doesn't know the rules can't play the game. This leads to the absurdity of language and its loss of meaning, and this means the absurdity of the universe itself (that, by the way, still exists).<br />
What I enjoy as much as science and logic is art, and with art, the contradictions that we can find in the world around us, in language, and in the dualism between life and death. With them I like to play games as a way of understanding the world by experimenting without an utilitaristic end but by enjoying a kind of uselessness that reveals an acknowledgment of the possibilities of being in the world.<br />
<br />
These two ways of seeing, the scientific, logical one, and the artistic and absurd one can be seen as contradictories, but here I find a third way that is my own practice as an attempt to put them together and create a science of art, (a logic of the absurd), or viceversa.</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Tancre/others/show%26tell&diff=196617User:Tancre/others/show&tell2021-09-01T20:25:20Z<p>Tancre: </p>
<hr />
<div>=Show & Tell =<br />
<br />
<code>My object is a book.</code> <br />
The most common and classical object related to standard publishing but that still rules the world and is part of my main interests along with music. <br />
What I love in books is not the material object itself, even if the book has an ideal and practical form as almost a perfect design that I appreciate particularly. But my interest in books is related to their content, to the story they tell, as literature. Even a scientific or philosophical book, can still be a piece of literature. Under this passion of mine for literature, a more ontological passion is hidden, that more than a passion I feel it like a necessity that constantly pushes me, even if I'm not conscious about it. This daemon is language.<br />
I see language as the main expression of our cognitive limits but, as a form of art, in literature, language acquires a meaning outside of its material representation that mirrores our life, divided between an apparently closed material world and an apparently open spiritual world, the world of our minds.<br />
<br />
The book I have here is not just an object but it contains a labyrinth of language that acquires a meaning overtaking its material form. This book is 'The Philosophical Investigations’ by Ludwig Wittgenstein. Wittgenstein is a philosopher involved in logic and language who wrote two books that represent two phases of his thought and almost two opposite visions of life. His first book is called 'Tractatus logico-philosophicus' (I've made a project with it that you can check on my website), in which he attempted to explain the universe as a logical system that already contains in itself all the possibilities of its expression. By doing this Wittgenstein must use language, and according to his idea, it mirrored the universe in the moment that it acquired a meaning, and that meaning is the logical consequence of the explanation of itself and so of the universe. This book is very complicated and obscure and hides a dogmatic vision of the world and language as perfect logical diamonds.<br />
I really love logic and science and this book represents exactly how I love to analyse the world around me almost as a logical machine starting from the historical beginning and developing all the possibilities to make the whole. <br />
<br />
But Wittgenstein wrote another book, the one I have here and that I've not read yet, but which I will start reading today. In this book he changes his mind and finds out that language is not so logical but is almost a game, when we talk and we communicate, we are playing a linguistic game in which who doesn't know the rules can't play the game. This leads to the absurdity of language and its loss of meaning, and this means the absurdity of the universe itself (that, by the way, still exists).<br />
What I enjoy as much as science and logic is art, and with art, the contradictions that we can find in the world around us, in language, and in the dualism between life and death. With them I like to play games as a way of understanding the world by experimenting without an utilitaristic end but by enjoying a kind of uselessness that reveals an acknowledgment of the possibilities of being in the world.<br />
<br />
These two ways of seeing, the scientific, logical one, and the artistic and absurd one can be seen as contradictories, but here I find a third way that is my own practice as an attempt to put them together and create a science of art, (a logic of the absurd), or viceversa.</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Ukj-rgrd-ith_-_Nov_8,_2020_1.png&diff=182905File:Ukj-rgrd-ith - Nov 8, 2020 1.png2020-11-08T16:49:51Z<p>Tancre: </p>
<hr />
<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Hypertext&diff=176414Hypertext2020-09-12T20:03:27Z<p>Tancre: </p>
<hr />
<div>[[File:Ted Nelson cropped.jpg|thumb|right|Ted Nelson]]<br />
Coined by [[Ted Nelson]] as part of his imagining of "hypermedia". Traceable to Nelson's self-published works from the 1970s such as [[Computer Lib / Dream Machines]].<br />
<br />
http://www.w3.org/WhatIs.html<br />
<br />
HYPERTEXT<br />
<br />
1941 Jorge Luis Borges - The Garden of Forking Paths<br />
<br />
1945 Vannevar Bush - As we may think<br />
<br />
1962 Douglas Engelbart > oN-Line System (NLS) <br />
<br />
1965 Ted Nelson > 'hypertext' & 'hypermedia'<br />
* https://web.archive.org/web/20140201175552/http://faculty.vassar.edu/mijoyce/Ted_sed.html<br />
* https://web.archive.org/web/20130510074431/http://faculty.vassar.edu/mijoyce/MiscNews_Feb65.html<br />
<br />
<br />
1967 Ted Nelson, Andries Van Dam > Hypertext Editing System (HES) <br />
* HES VS FRESS > http://www.digitalhumanities.org/dhq/vol/4/1/000081/000081.html#<br />
<br />
1968 Douglas Engelbart > The Mother of All Demos<br />
<br />
1970 ZOG (then KMS)<br />
<br />
1978 Aspen Movie Map<br />
<br />
1980 Tim Berners-Lee > ENQUIRE <br />
<br />
1980 Roberto Busa > Index Thomisticus<br />
* https://www.corpusthomisticum.org/it/index.age<br />
* https://itreebank.marginalia.it/view/projet.php<br />
<br />
1982 Peter J. Brown > Guide</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Hypertext&diff=176413Hypertext2020-09-12T20:02:47Z<p>Tancre: </p>
<hr />
<div>[[File:Ted Nelson cropped.jpg|thumb|right|Ted Nelson]]<br />
Coined by [[Ted Nelson]] as part of his imagining of "hypermedia". Traceable to Nelson's self-published works from the 1970s such as [[Computer Lib / Dream Machines]].<br />
<br />
http://www.w3.org/WhatIs.html<br />
<br />
HYPERTEXT<br />
<br />
1941 Jorge Luis Borges - The Garden of Forking Paths<br />
<br />
1945 Vannevar Bush - As we may think<br />
<br />
1962 Douglas Engelbart > oN-Line System (NLS) <br />
<br />
1965 Ted Nelson > 'hypertext' & 'hypermedia'<br />
* https://web.archive.org/web/20140201175552/http://faculty.vassar.edu/mijoyce/Ted_sed.html<br />
* https://web.archive.org/web/20130510074431/http://faculty.vassar.edu/mijoyce/MiscNews_Feb65.html<br />
<br />
<br />
1967 Ted Nelson, Andries Van Dam > Hypertext Editing System (HES) <br />
* HES VS FRESS > http://www.digitalhumanities.org/dhq/vol/4/1/000081/000081.html#<br />
<br />
1968 Douglas Engelbart > The Mother of All Demos<br />
<br />
1970 ZOG (then KMS)<br />
<br />
1978 Aspen Movie Map<br />
<br />
1980 Tim Berners-Lee > ENQUIRE <br />
<br />
1980 Roberto Busa > Index Thomisticus<br />
* https://www.corpusthomisticum.org/it/index.age<br />
* https://itreebank.marginalia.it/view/projet.php<br />
<br />
1982 Peter J. Brown > Guide<br />
<br />
TED NELSON<br />
https://www.youtube.com/watch?v=0qjSrSF9_kM</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=175834C o l l e c t i v e i o n i n g2020-07-06T13:12:59Z<p>Tancre: /* Web zines */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
'''STYLE GUIDE:'''<br><br />
Long version:<br><br />
* Special Issue 07: Start up, Burn Out: Life Hacks<br />
* Special Issue 08: The Network we (de)Served<br />
* Special Issue 09: The Library Is Open<br />
<br />
Short version (always in italics):<br><br />
* ''Start up, Burn Out: Life Hacks''<br />
* ''The Network we (de)Served''<br />
* ''The Library Is Open''<br />
<br />
=introduction=<br />
<br />
==collectiveioning==<br />
''The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectivioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present the threads in our collective and individual research in a live online moment together on Friday, July 10, 2020 at 18:00. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
==pronunciation==<br />
'''SB:''' /kə 'lɛk tɪv yən nɪŋ/ is a mouthful of consonants and vowels joined together to make a new word spoken in many voices.<br><br />
'''BHW:''' /col ec 'tivio ning/ is a collection of works to share our voices into a one-whole-giant platform.<br><br />
'''PG:''' /co-lec-tí-bio-ning/ is a compilation of collective reflections, collaborative exercises, collective experiments, and common worlds to explore by individuals.<br><br />
'''AG:''' /kολε-κτί-βιο-νινγκ/ is collecting moments, memories, and collections collectively.<br><br />
'''TDG:''' /colleectiiiviòooniiing/ is an attempt to collect ive ion and ing.<br><br />
'''PSC:''' /cool-ectiveioning/ is not uniform, is using the uniform.<br><br />
'''BW:''' /ke lec ti vi on ne ing/ is to put nouns into adjectives and adjectives into verbs and verbs into nouns.<br><br />
'''RG:''' /collec-tí-ví-uuuuniiiing/ is a combination of our works and thoughts together as a group, team, band, class, gang, individuals, friends.<br><br />
<br />
'''ASW:''' Collectiveioning is a word collectively named by Simon Browne, Bohye Woo, Paloma García, Artemis Gryllaki, Tancredi di Giovanni, Pedro Sá Couto, Biyi Wen, and Rita Graça to encapsulate their graduation projects at the Experimental Publishing (XPUB) Masters of Piet Zwart Institute. The word is related to collections, collective time spent at XPUB, and collaborative working methods. This term was coined during an intense two-day online collective writing session in the depths of COVID-19, where bodies were separate but spirits were /collective-awning/.<br><br />
'''CB:''' /koh-lek-teev-yoh-níngk/ is a type of collaboration wherein individuals retain their autonomy within a collective process, but agree to present their work as a body that is continuous, a skeleton made of bones that cooperate with each other, despite any fractures that may arise.<br><br />
'''AM:''' /ko-lek-tiev-ah-vio-ning/ is a type of airplane navigation system that predates modern flight industry. At the time, this method relied on the collective steering of the apparatus and a complex decision making system to decide where to travel and what kind of journey should be experienced. After a few dramatic failures, this experimental form of navigation and exploration was forbidden by the council of airplane industry. It remains active in a few places in the Netherlands, mostly funded by amateur radio associations.<br><br />
<br />
==xpub==<br />
The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.<br />
<br />
===Class of 2020===<br />
Simon Browne<br><br />
Paloma García<br><br />
Tancredi di Giovanni<br><br />
Rita Graça<br><br />
Artemis Gryllaki<br><br />
Pedro Sá Couto<br><br />
Biyi Wen<br><br />
Bohye Woo<br><br />
<br />
==acknowledgements==<br />
Our deepest thanks to XPUB staff, to editors and invited guests from Special Issues, to servus.at for borrowed infrastructure, and to Sarah Magnan & Gijs de Heij from Open Source Publishing for working with us on producing this web-to-print publication.<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
[[File:Event_pic.jpg|480px]]<br />
==Introduction==<br />
''Start Up, Burn Out: Life Hacks'' is comprised of two core components, a book titled ''Ten Theses on Life Hacks'', which is an attempt to define criteria for what constitutes a Life Hack, and a device called ''Iris'', which purports to increase productivity in the workplace. ''Ten Theses on Life Hacks'' is meant to provide a widened perspective on Life Hacks and their relationship to our collective experiences and reflections. ''Iris'' aims to provide a real experience to each individual user. Ultimately, its goal is to achieve self-improvement.<br />
<br />
Both components rely on interaction with an end-user; ''Ten Theses on Life Hacks'' is bound by the reader, using a selection from an eclectic range of items so the user should have an active role and design a binding technique through an improvised Life Hack strategy. ''Iris'' requires the presence of the user to be triggered and the subsequent reflection time to be processed by the listener.<br />
<br />
==Publications==<br />
===Ten Theses on Life Hacks===<br />
Life Hacks are small improvisational interventions to the immediate environment; spontaneous actions that aim to improve or adapt materials to specific needs. They are diasporic, shared within communities both on- and offline in ever-increasing processes of self-optimisation. Understanding Life Hacks in the context of an advanced capitalist society raises the question of the ambiguity of a system in which the entrepreneurial routine of the self is internalized to perform an ever-working life. In actuality, Life Hacks bring about the possibility of reappropriating everyday life in a creative and practical response, managing precarity and complexity.<br />
<br />
This publication consists of ten theses, the first of which is a selection of criteria that allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments supported by examples, on how to identify specific features of Life Hacks, in which environment (and space) they exist and what kind of culture they foster.<br />
<br />
<br />
====PDF====<br />
[[File:X theses.pdf]]<br />
<br />
====Photos====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
Ten-theses-pub.jpeg<br />
Ten theses set.png<br />
</gallery><br />
<br />
===Iris===<br />
''(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶''<br />
<br />
''A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.''<br />
<br />
Iris takes the appearance of a manufactured product; a compact 3D-printed shell that contains a Raspberry Pi and two speakers, and at the top of the device, an infinity mirror with an LED strip and a camera. When it detects movement via the camera it starts to speak, and the LEDs, connected to the audio levels of the output, start to glow at a different intensity in relation to the strength of the audio signal. When the device is active, the infinity mirror produces a combination of an endless light corridor and a faint reflection of oneself.<br />
<br />
Iris is a physical device, ostensibly, an “artificial intelligence”, whose aim is to increase productivity. It is installed in work environments where workers can easily interact with it. However, the device is inhabited by three different personalities: Corporate Guru, Pirate Signal and Announcer. The interactions with and conflicts between these three personalities force the user to adopt a reflexive and critical attitude toward the device. The user triggers the performance and is placed in an ambiguous position; doubtful if the emphasis is on productivity or happiness.<br />
<br />
The Corporate Guru invites the user to repeat positive affirmations and invite self-inquiry into their thoughts as part of a meditative session. Its soothing voice is interrupted unexpectedly by the raspy, computerised whisper of a Pirate Signal, who responds with snarky asides that cast doubt on the Guru’s instructions and the very process of taking part in such sessions. Whether the Pirate Signal is part of the corporate manufacturer’s design or not is not clear; it could easily be coming from an outside infiltrator (e.g. a hacktivist) whose aim is to subvert the process. The third voice is of an Announcer, who, every hour, between 9:00 and 17:00 (apart from a lunch break at 13:00), describes a work-related problem and a Life Hack which addresses it, reminding workers of their autonomy and suggesting practical ways to improve their everyday lives in small, improvisational actions.<br />
<br />
====Photos====<br />
<gallery><br />
Iris_01.jpg<br />
Iris_02.jpg<br />
Iris_03.jpg<br />
Iris_04.jpg<br />
Iris_05.jpg<br />
Iris_06.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018.<br />
<br />
A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
=Special Issue 08: The Network we (de)Served=<br />
[[File:INFRASTRUCTOUR-4.jpg|480px]]<br />
==Introduction==<br />
''The Network we (de)Served'' became a site of learning for a group of experimental publishers to explore how networked technologies could become publishing tools. We traversed several layers, from local area networks to the web and the larger internet. We spent time examining different protocols and network concepts such as IP, DNS, HTTP, SSH & XMPP that are inherently part of the networked infrastructures we use every day. Eventually, we moved from using the IP addresses of our home connections, to making use of, and mapping those to domain names acquired at gratis DNS providers, using traceroutes to finding out how we were interconnected with each other, and how to cross-reference these connections with hyperlinks. Sometimes it was frustrating, but mostly it was a lot of fun.<br />
<br />
===The Infrastructour===<br />
''We travelled from home to home by bicycle, setting up homeservers. As friends and companions on this Infrastructour, we studied our routers over drinks served by our hosts. Where possible we installed our servers in our homes, in other cases we had to depend on another member of the group. While self-hosting together we questioned our understandings of networks, autonomy, online publishing and social infrastructures, where each of us departed from a different question. We would like to share our personal (yet interconnected) routes with you, tell you a story, present our web- and printed zines, and invite you to explore our homebrewed network.''<br />
<br />
Out of this work has emerged a series of mixed media publications that are based on the individual experiences, questions and investigations. These publications take the form of handcrafted HTML webzines that exist online on the various self-hosted servers, and offline as their HTML-to-print equivalents. Together they form a distinct set of perspectives on issues ranging from network politics, publishing methods, visualisation, mapping and graphing of human and machine topologies, as well as reflections on online sociality. These distinct perspectives have been grouped in a few categories that the reader can use as a guide through the publication.<br />
<br />
===Categories===<br />
WHAT IS A NETWORK?<br><br />
We discuss questions ranging from the relationship between topology and geography, to the interrelation between technical and social networks. In particular, we are looking at networks of home servers, networks of hosts taking care of these servers, the infrastructure of the city as a network of routes, and the network as a collection of interconnected related topics in our research.<br />
<br />
AUTONOMY AND ITS CONTINGENCIES<br><br />
Gaining agency in a networked through self-hosting can easily be mistaken for autonomy. Indeed, since the very first 'Declaration of Independence of Cyberspace', networked environments have been rife with discussions surrounding free speech, freedom, independence and autonomy. The practice of self-hosting though, simultaneously questions these one-dimensional understandings of autonomy as it opens up questions of materiality, skills, access, privileges and affordance. How can we shift discussions about independence to the understanding of interdependence?<br />
<br />
SOCIAL NETWORKS<br><br />
Thinking about networks should not be limited to discussing their technological infrastructure, but also, to question their social component. This is particularly relevant for social networking platforms that reflect and reinforce established modes of socialisation and subjectivation. How can self-hosting help understand what it means to become a node and relate to others? How can a practical approach to working with network(ed) technologies allow for exploring the inherent forms of sociality found in networking tools?<br />
<br />
NETWORK(ED) PUBLISHING<br><br />
Installing our servers, hosting content on them and building tools that can make use of custom infrastructures allow for the deep integration between writing, editing, annotating and designing content. We were particularly interested in running experiments with building tools for publishing at different speeds: from daily notes and archived conversations to glossaries and long-form essays written over time. How can we publish a network, how can we translate its mechanisms, activities and attitudes?<br />
<br />
MAPPING NETWORKS<br><br />
Finding ways to map or visualise networks quickly became a strategy to question implicit ideals and ideologies found in them. What does it mean to draw relations as direct lines between nodes? How do understandings of a network can change if we don't think in terms of nodes but knots? How to visualise disconnections and inconsistencies? how to map a network as an evolving system? How to think about scale, the spaces between nodes and go beyond the superficiality of buzzwords like (de)centralisation?<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
19 01 20 dependencies.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Roel Roscam Abbing, Manetta Berends, Lídia Pereira, André Castro, Aymeric Mansoux, Michael Murtaugh, Steve Rushton, Leslie Robbins.<br />
<br />
Brought to you by the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) of the Piet Zwart Institute, and Varia, Centre for Everyday Technology, Rotterdam, April 2019.<br />
<br />
==Publication==<br />
===Publication launch at Varia===<br />
<br />
<gallery><br />
Me.jpg<br />
si8_event1.jpg<br />
si8_event3.jpg<br />
</gallery><br />
<br />
===Web zines===<br />
<gallery><br />
Screenshot_2020-07-02_at_17.05.44.png|Relying on self-hosting and at the same time managing it, Pedro Sá Couto<br />
rita_website_si8.jpg|Alive, fully in motion, unstable, decaying, dying, restarting. Rita Graça<br />
simon_website_si8.png|''From Networks to Knotworks'', Simon Browne. Understanding networks (digital and social) by walking, drawing, serving, mapping.<br />
Artemis_website_si8.png|''Questions on (Social) Networks'', Artemis Gryllaki. Navigating through a collection of articles around social networks.<br />
Cyb_map.png|''A text within a map'', Tancredi Di Giovanni. ''"Then you realize that were there was one thing, actually there are few, and more you zoom into more universes you'll find with billion of ideas"''. <br />
</gallery><br />
<br />
===Printed zines===<br />
<br />
<gallery><br />
si8_image1.jpg<br />
si8_image7.jpg<br />
Si8 event.jpg<br />
si8_image8.jpg<br />
si8_image2.jpg<br />
si8_image3.jpg<br />
si8_image4.jpg<br />
si8_image_5.jpg<br />
Livingroom.jpg<br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
si8_box3.jpg<br />
si8_image6.jpg<br />
SI8_printed_zines.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
[[File:Workshop.jpg|480px]]<br />
== Introduction ==<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”. In a printed publication of the same title we documented the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
===Workshop descriptions===<br />
''The Library Is Open invites you to an afternoon of workshops that make the operations within libraries visible. Join us in exploring the actions and roles of legal and extra-legal libraries (municipal, pirate, academic, +++), their custodians, and the public that form a community around collections of texts.''<br />
<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
<gallery><br />
File:purplepaper.jpg<br />
File:form_fill.jpg<br />
File:00006.jpg<br />
File:00007.jpg<br />
File:000010.jpg<br />
File:00003.jpg<br />
File:000011.jpg<br />
File:000014.jpg<br />
</gallery><br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them? In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library.<br />
<br />
<gallery><br />
thio02.jpg<br />
thio03.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
Pp06.jpg<br />
Performanceletter01.jpg<br />
</gallery><br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Knowledge_in_action1.jpg<br />
Knowledge_in_action2.jpg<br />
Knowledge_in_action3.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Shadow_library.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors:<br />
Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Femke Snelting, Biyi Wen, Bohye Woo<br />
<br />
Special thanks to:<br />
Partnering institute Constant (BE), Leezsaal Rotterdam West, Bodó Balázs, Dušan Barok, Anita Burato, André Castro, Aymeric Mansoux, Michael Murtaugh, Martino Morandi, Leslie Robbins, Steve Rushton, Amy Suo Wu, Eva Weinmayr<br />
<br />
==Publication ==<br />
''The Library Is Open'' was printed and published in June 2019 and launched at the 2019 Graduation Show. It includes descriptions, processes and outcomes of the workshops held at Leeszaal Rotterdam West, interviews with Marcell Mars, Dusan Barok, Dubravka Sekulic and librarians of Leeszaal, and an appendix of open letters; guest editor Femke Snelting's introduction to the 2019 iteration of Interfacing the Law, the letter "In Support of Library Genesis and Sci-Hub" from the website custodians.online, and Alexandra Elbakyan's response to the presiding judge in the court case "Elsevier Inc. et al v. Sci-Hub et al".<br />
<br />
<gallery><br />
TLIO 01.png<br />
TLIO 02.png<br />
TLIO 03.png<br />
TLIO 04.png<br />
TLIO 05.png<br />
TLIO 06.png<br />
TLIO 07.png<br />
TLIO 08.png<br />
TLIO 09.jpg<br />
TLIO 10.jpg<br />
TLIO 11.jpg<br />
</gallery><br />
<br />
====PDF====<br />
[[File:The_Library_is_Open.pdf | The Library Is Open PDF]]<br />
<br />
<br />
=Colophon=<br />
''Collectiveioning'' is a publication of work produced within the context of the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam.<br />
<br />
Course Director XPUB:<br />
Aymeric Mansoux<br />
<br />
Administration:<br />
Leslie Robbins<br />
<br />
Tutors:<br />
Clara Balaguer, André Castro, Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu<br />
<br />
Thesis supervisors:<br />
Steve Rushton, Marloes de Valk<br />
<br />
Grad project supervisors:<br />
Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu, André Castro, Clara Balaguer<br />
<br />
External examiner 2020:<br />
Marina Otero Vezier<br />
<br />
Research, editing and production:<br />
Simon Browne,<br />
Tancredi di Giovanni,<br />
Paloma García,<br />
Rita Graça,<br />
Artemis Gryllaki,<br />
Pedro Sá Couto,<br />
Biyi Wen,<br />
Bohye Woo<br />
<br />
Licenses:<br />
''the bootleg library'', Simon Browne, 2020. This work is published under the Free Art Licence.<br />
Tancredi di Giovanni<br />
Paloma García<br />
Rita Graça<br />
Syster Systems & Syster Papyri Magicae, Artemis Gryllaki, 2020. This work is published under the Peer Production License (PPL)<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Bohye Woo<br />
<br />
Publisher:<br />
XPUB, Rotterdam<br />
<br />
Print run:<br />
TBD<br />
<br />
Printed at:<br />
TBD<br />
<br />
Bound at:<br />
TBD<br />
<br />
Paper:<br />
TBD<br />
<br />
Typefaces:<br />
TBD<br />
<br />
ISBN:<br />
TBD<br />
<br />
Special Issue Partners:<br />
Constant (Brussels), Het Nieuwe Instituut (Rotterdam), Leeszaal Rotterdam West, Varia (Rotterdam), <br />
<br />
This hybrid publication, ''Collectiveioning'' was realised with the expert help and guidance of Open Source Publishing (Brussels), the benevolent dictatorship of Aymeric Mansoux, the publishing midwifery of Clara Balaguer and Amy Suo Wu and the endless magic spun by Leslie Robbins.<br />
<br />
More information about XPUB projects and Special Issues:<br />
project.xpub.nl<br />
issue.xpub.nl<br />
<br />
Postal Address:<br />
Piet Zwart Institute<br />
Master of Arts in Fine Art and Design:<br />
Experimental Publishing<br />
P.O. Box 1272<br />
3000 BG Rotterdam<br />
The Netherlands<br />
<br />
Visiting address:<br />
Wijnhaven 61<br />
4th floor<br />
3011 WJ Rotterdam <br />
The Netherlands<br />
<br />
=Grad Theses=<br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf | Unravelling Disembodiment]]<br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony: Exploring toxic colonial legacies in Korean digital society]] <br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br><br />
Artemis Gryllaki: [https://project.xpub.nl/syster-papyri-magicae/ Syster Papyri Magicae]<br><br />
Pedro Sá Couto: [https://project.xpub.nl/tactical-watermarks/ Tactical Watermarks]<br><br />
Rita Graça: [https://project.xpub.nl/networks-of-care/ Networks of Care]<br><br />
Tancredi di Giovanni: [https://project.xpub.nl/ilinx/ Ilinx]<br><br />
Paloma García: [https://project.xpub.nl/cartographies-of-counter-speculation/ Cartographies of Counter-Speculation]<br><br />
Biyi Wen: [https://project.xpub.nl/the-repeater-archive/ The Repeater Archive ]<br><br />
Bohye Woo: [https://project.xpub.nl/parallel-colonialism/ Parallel Colonialism]<br><br />
<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=175833C o l l e c t i v e i o n i n g2020-07-06T13:12:38Z<p>Tancre: /* Web zines */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
'''STYLE GUIDE:'''<br><br />
Long version:<br><br />
* Special Issue 07: Start up, Burn Out: Life Hacks<br />
* Special Issue 08: The Network we (de)Served<br />
* Special Issue 09: The Library Is Open<br />
<br />
Short version (always in italics):<br><br />
* ''Start up, Burn Out: Life Hacks''<br />
* ''The Network we (de)Served''<br />
* ''The Library Is Open''<br />
<br />
=introduction=<br />
<br />
==collectiveioning==<br />
''The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectivioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present the threads in our collective and individual research in a live online moment together on Friday, July 10, 2020 at 18:00. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
==pronunciation==<br />
'''SB:''' /kə 'lɛk tɪv yən nɪŋ/ is a mouthful of consonants and vowels joined together to make a new word spoken in many voices.<br><br />
'''BHW:''' /col ec 'tivio ning/ is a collection of works to share our voices into a one-whole-giant platform.<br><br />
'''PG:''' /co-lec-tí-bio-ning/ is a compilation of collective reflections, collaborative exercises, collective experiments, and common worlds to explore by individuals.<br><br />
'''AG:''' /kολε-κτί-βιο-νινγκ/ is collecting moments, memories, and collections collectively.<br><br />
'''TDG:''' /colleectiiiviòooniiing/ is an attempt to collect ive ion and ing.<br><br />
'''PSC:''' /cool-ectiveioning/ is not uniform, is using the uniform.<br><br />
'''BW:''' /ke lec ti vi on ne ing/ is to put nouns into adjectives and adjectives into verbs and verbs into nouns.<br><br />
'''RG:''' /collec-tí-ví-uuuuniiiing/ is a combination of our works and thoughts together as a group, team, band, class, gang, individuals, friends.<br><br />
<br />
'''ASW:''' Collectiveioning is a word collectively named by Simon Browne, Bohye Woo, Paloma García, Artemis Gryllaki, Tancredi di Giovanni, Pedro Sá Couto, Biyi Wen, and Rita Graça to encapsulate their graduation projects at the Experimental Publishing (XPUB) Masters of Piet Zwart Institute. The word is related to collections, collective time spent at XPUB, and collaborative working methods. This term was coined during an intense two-day online collective writing session in the depths of COVID-19, where bodies were separate but spirits were /collective-awning/.<br><br />
'''CB:''' /koh-lek-teev-yoh-níngk/ is a type of collaboration wherein individuals retain their autonomy within a collective process, but agree to present their work as a body that is continuous, a skeleton made of bones that cooperate with each other, despite any fractures that may arise.<br><br />
'''AM:''' /ko-lek-tiev-ah-vio-ning/ is a type of airplane navigation system that predates modern flight industry. At the time, this method relied on the collective steering of the apparatus and a complex decision making system to decide where to travel and what kind of journey should be experienced. After a few dramatic failures, this experimental form of navigation and exploration was forbidden by the council of airplane industry. It remains active in a few places in the Netherlands, mostly funded by amateur radio associations.<br><br />
<br />
==xpub==<br />
The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.<br />
<br />
===Class of 2020===<br />
Simon Browne<br><br />
Paloma García<br><br />
Tancredi di Giovanni<br><br />
Rita Graça<br><br />
Artemis Gryllaki<br><br />
Pedro Sá Couto<br><br />
Biyi Wen<br><br />
Bohye Woo<br><br />
<br />
==acknowledgements==<br />
Our deepest thanks to XPUB staff, to editors and invited guests from Special Issues, to servus.at for borrowed infrastructure, and to Sarah Magnan & Gijs de Heij from Open Source Publishing for working with us on producing this web-to-print publication.<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
[[File:Event_pic.jpg|480px]]<br />
==Introduction==<br />
''Start Up, Burn Out: Life Hacks'' is comprised of two core components, a book titled ''Ten Theses on Life Hacks'', which is an attempt to define criteria for what constitutes a Life Hack, and a device called ''Iris'', which purports to increase productivity in the workplace. ''Ten Theses on Life Hacks'' is meant to provide a widened perspective on Life Hacks and their relationship to our collective experiences and reflections. ''Iris'' aims to provide a real experience to each individual user. Ultimately, its goal is to achieve self-improvement.<br />
<br />
Both components rely on interaction with an end-user; ''Ten Theses on Life Hacks'' is bound by the reader, using a selection from an eclectic range of items so the user should have an active role and design a binding technique through an improvised Life Hack strategy. ''Iris'' requires the presence of the user to be triggered and the subsequent reflection time to be processed by the listener.<br />
<br />
==Publications==<br />
===Ten Theses on Life Hacks===<br />
Life Hacks are small improvisational interventions to the immediate environment; spontaneous actions that aim to improve or adapt materials to specific needs. They are diasporic, shared within communities both on- and offline in ever-increasing processes of self-optimisation. Understanding Life Hacks in the context of an advanced capitalist society raises the question of the ambiguity of a system in which the entrepreneurial routine of the self is internalized to perform an ever-working life. In actuality, Life Hacks bring about the possibility of reappropriating everyday life in a creative and practical response, managing precarity and complexity.<br />
<br />
This publication consists of ten theses, the first of which is a selection of criteria that allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments supported by examples, on how to identify specific features of Life Hacks, in which environment (and space) they exist and what kind of culture they foster.<br />
<br />
<br />
====PDF====<br />
[[File:X theses.pdf]]<br />
<br />
====Photos====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
Ten-theses-pub.jpeg<br />
Ten theses set.png<br />
</gallery><br />
<br />
===Iris===<br />
''(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶''<br />
<br />
''A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.''<br />
<br />
Iris takes the appearance of a manufactured product; a compact 3D-printed shell that contains a Raspberry Pi and two speakers, and at the top of the device, an infinity mirror with an LED strip and a camera. When it detects movement via the camera it starts to speak, and the LEDs, connected to the audio levels of the output, start to glow at a different intensity in relation to the strength of the audio signal. When the device is active, the infinity mirror produces a combination of an endless light corridor and a faint reflection of oneself.<br />
<br />
Iris is a physical device, ostensibly, an “artificial intelligence”, whose aim is to increase productivity. It is installed in work environments where workers can easily interact with it. However, the device is inhabited by three different personalities: Corporate Guru, Pirate Signal and Announcer. The interactions with and conflicts between these three personalities force the user to adopt a reflexive and critical attitude toward the device. The user triggers the performance and is placed in an ambiguous position; doubtful if the emphasis is on productivity or happiness.<br />
<br />
The Corporate Guru invites the user to repeat positive affirmations and invite self-inquiry into their thoughts as part of a meditative session. Its soothing voice is interrupted unexpectedly by the raspy, computerised whisper of a Pirate Signal, who responds with snarky asides that cast doubt on the Guru’s instructions and the very process of taking part in such sessions. Whether the Pirate Signal is part of the corporate manufacturer’s design or not is not clear; it could easily be coming from an outside infiltrator (e.g. a hacktivist) whose aim is to subvert the process. The third voice is of an Announcer, who, every hour, between 9:00 and 17:00 (apart from a lunch break at 13:00), describes a work-related problem and a Life Hack which addresses it, reminding workers of their autonomy and suggesting practical ways to improve their everyday lives in small, improvisational actions.<br />
<br />
====Photos====<br />
<gallery><br />
Iris_01.jpg<br />
Iris_02.jpg<br />
Iris_03.jpg<br />
Iris_04.jpg<br />
Iris_05.jpg<br />
Iris_06.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018.<br />
<br />
A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
=Special Issue 08: The Network we (de)Served=<br />
[[File:INFRASTRUCTOUR-4.jpg|480px]]<br />
==Introduction==<br />
''The Network we (de)Served'' became a site of learning for a group of experimental publishers to explore how networked technologies could become publishing tools. We traversed several layers, from local area networks to the web and the larger internet. We spent time examining different protocols and network concepts such as IP, DNS, HTTP, SSH & XMPP that are inherently part of the networked infrastructures we use every day. Eventually, we moved from using the IP addresses of our home connections, to making use of, and mapping those to domain names acquired at gratis DNS providers, using traceroutes to finding out how we were interconnected with each other, and how to cross-reference these connections with hyperlinks. Sometimes it was frustrating, but mostly it was a lot of fun.<br />
<br />
===The Infrastructour===<br />
''We travelled from home to home by bicycle, setting up homeservers. As friends and companions on this Infrastructour, we studied our routers over drinks served by our hosts. Where possible we installed our servers in our homes, in other cases we had to depend on another member of the group. While self-hosting together we questioned our understandings of networks, autonomy, online publishing and social infrastructures, where each of us departed from a different question. We would like to share our personal (yet interconnected) routes with you, tell you a story, present our web- and printed zines, and invite you to explore our homebrewed network.''<br />
<br />
Out of this work has emerged a series of mixed media publications that are based on the individual experiences, questions and investigations. These publications take the form of handcrafted HTML webzines that exist online on the various self-hosted servers, and offline as their HTML-to-print equivalents. Together they form a distinct set of perspectives on issues ranging from network politics, publishing methods, visualisation, mapping and graphing of human and machine topologies, as well as reflections on online sociality. These distinct perspectives have been grouped in a few categories that the reader can use as a guide through the publication.<br />
<br />
===Categories===<br />
WHAT IS A NETWORK?<br><br />
We discuss questions ranging from the relationship between topology and geography, to the interrelation between technical and social networks. In particular, we are looking at networks of home servers, networks of hosts taking care of these servers, the infrastructure of the city as a network of routes, and the network as a collection of interconnected related topics in our research.<br />
<br />
AUTONOMY AND ITS CONTINGENCIES<br><br />
Gaining agency in a networked through self-hosting can easily be mistaken for autonomy. Indeed, since the very first 'Declaration of Independence of Cyberspace', networked environments have been rife with discussions surrounding free speech, freedom, independence and autonomy. The practice of self-hosting though, simultaneously questions these one-dimensional understandings of autonomy as it opens up questions of materiality, skills, access, privileges and affordance. How can we shift discussions about independence to the understanding of interdependence?<br />
<br />
SOCIAL NETWORKS<br><br />
Thinking about networks should not be limited to discussing their technological infrastructure, but also, to question their social component. This is particularly relevant for social networking platforms that reflect and reinforce established modes of socialisation and subjectivation. How can self-hosting help understand what it means to become a node and relate to others? How can a practical approach to working with network(ed) technologies allow for exploring the inherent forms of sociality found in networking tools?<br />
<br />
NETWORK(ED) PUBLISHING<br><br />
Installing our servers, hosting content on them and building tools that can make use of custom infrastructures allow for the deep integration between writing, editing, annotating and designing content. We were particularly interested in running experiments with building tools for publishing at different speeds: from daily notes and archived conversations to glossaries and long-form essays written over time. How can we publish a network, how can we translate its mechanisms, activities and attitudes?<br />
<br />
MAPPING NETWORKS<br><br />
Finding ways to map or visualise networks quickly became a strategy to question implicit ideals and ideologies found in them. What does it mean to draw relations as direct lines between nodes? How do understandings of a network can change if we don't think in terms of nodes but knots? How to visualise disconnections and inconsistencies? how to map a network as an evolving system? How to think about scale, the spaces between nodes and go beyond the superficiality of buzzwords like (de)centralisation?<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
19 01 20 dependencies.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Roel Roscam Abbing, Manetta Berends, Lídia Pereira, André Castro, Aymeric Mansoux, Michael Murtaugh, Steve Rushton, Leslie Robbins.<br />
<br />
Brought to you by the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) of the Piet Zwart Institute, and Varia, Centre for Everyday Technology, Rotterdam, April 2019.<br />
<br />
==Publication==<br />
===Publication launch at Varia===<br />
<br />
<gallery><br />
Me.jpg<br />
si8_event1.jpg<br />
si8_event3.jpg<br />
</gallery><br />
<br />
===Web zines===<br />
<gallery><br />
Screenshot_2020-07-02_at_17.05.44.png|Relying on self-hosting and at the same time managing it, Pedro Sá Couto<br />
rita_website_si8.jpg|Alive, fully in motion, unstable, decaying, dying, restarting. Rita Graça<br />
simon_website_si8.png|''From Networks to Knotworks'', Simon Browne. Understanding networks (digital and social) by walking, drawing, serving, mapping.<br />
Artemis_website_si8.png|''Questions on (Social) Networks'', Artemis Gryllaki. Navigating through a collection of articles around social networks.<br />
Cyb_map.png|''A text within a map'', Tancredi Di Giovanni. **"Then you realize that were there was one thing, actually there are few, and more you zoom into more universes you'll find with billion of ideas"**. <br />
</gallery><br />
<br />
===Printed zines===<br />
<br />
<gallery><br />
si8_image1.jpg<br />
si8_image7.jpg<br />
Si8 event.jpg<br />
si8_image8.jpg<br />
si8_image2.jpg<br />
si8_image3.jpg<br />
si8_image4.jpg<br />
si8_image_5.jpg<br />
Livingroom.jpg<br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
si8_box3.jpg<br />
si8_image6.jpg<br />
SI8_printed_zines.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
[[File:Workshop.jpg|480px]]<br />
== Introduction ==<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”. In a printed publication of the same title we documented the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
===Workshop descriptions===<br />
''The Library Is Open invites you to an afternoon of workshops that make the operations within libraries visible. Join us in exploring the actions and roles of legal and extra-legal libraries (municipal, pirate, academic, +++), their custodians, and the public that form a community around collections of texts.''<br />
<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
<gallery><br />
File:purplepaper.jpg<br />
File:form_fill.jpg<br />
File:00006.jpg<br />
File:00007.jpg<br />
File:000010.jpg<br />
File:00003.jpg<br />
File:000011.jpg<br />
File:000014.jpg<br />
</gallery><br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them? In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library.<br />
<br />
<gallery><br />
thio02.jpg<br />
thio03.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
Pp06.jpg<br />
Performanceletter01.jpg<br />
</gallery><br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Knowledge_in_action1.jpg<br />
Knowledge_in_action2.jpg<br />
Knowledge_in_action3.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Shadow_library.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors:<br />
Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Femke Snelting, Biyi Wen, Bohye Woo<br />
<br />
Special thanks to:<br />
Partnering institute Constant (BE), Leezsaal Rotterdam West, Bodó Balázs, Dušan Barok, Anita Burato, André Castro, Aymeric Mansoux, Michael Murtaugh, Martino Morandi, Leslie Robbins, Steve Rushton, Amy Suo Wu, Eva Weinmayr<br />
<br />
==Publication ==<br />
''The Library Is Open'' was printed and published in June 2019 and launched at the 2019 Graduation Show. It includes descriptions, processes and outcomes of the workshops held at Leeszaal Rotterdam West, interviews with Marcell Mars, Dusan Barok, Dubravka Sekulic and librarians of Leeszaal, and an appendix of open letters; guest editor Femke Snelting's introduction to the 2019 iteration of Interfacing the Law, the letter "In Support of Library Genesis and Sci-Hub" from the website custodians.online, and Alexandra Elbakyan's response to the presiding judge in the court case "Elsevier Inc. et al v. Sci-Hub et al".<br />
<br />
<gallery><br />
TLIO 01.png<br />
TLIO 02.png<br />
TLIO 03.png<br />
TLIO 04.png<br />
TLIO 05.png<br />
TLIO 06.png<br />
TLIO 07.png<br />
TLIO 08.png<br />
TLIO 09.jpg<br />
TLIO 10.jpg<br />
TLIO 11.jpg<br />
</gallery><br />
<br />
====PDF====<br />
[[File:The_Library_is_Open.pdf | The Library Is Open PDF]]<br />
<br />
<br />
=Colophon=<br />
''Collectiveioning'' is a publication of work produced within the context of the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam.<br />
<br />
Course Director XPUB:<br />
Aymeric Mansoux<br />
<br />
Administration:<br />
Leslie Robbins<br />
<br />
Tutors:<br />
Clara Balaguer, André Castro, Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu<br />
<br />
Thesis supervisors:<br />
Steve Rushton, Marloes de Valk<br />
<br />
Grad project supervisors:<br />
Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu, André Castro, Clara Balaguer<br />
<br />
External examiner 2020:<br />
Marina Otero Vezier<br />
<br />
Research, editing and production:<br />
Simon Browne,<br />
Tancredi di Giovanni,<br />
Paloma García,<br />
Rita Graça,<br />
Artemis Gryllaki,<br />
Pedro Sá Couto,<br />
Biyi Wen,<br />
Bohye Woo<br />
<br />
Licenses:<br />
''the bootleg library'', Simon Browne, 2020. This work is published under the Free Art Licence.<br />
Tancredi di Giovanni<br />
Paloma García<br />
Rita Graça<br />
Syster Systems & Syster Papyri Magicae, Artemis Gryllaki, 2020. This work is published under the Peer Production License (PPL)<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Bohye Woo<br />
<br />
Publisher:<br />
XPUB, Rotterdam<br />
<br />
Print run:<br />
TBD<br />
<br />
Printed at:<br />
TBD<br />
<br />
Bound at:<br />
TBD<br />
<br />
Paper:<br />
TBD<br />
<br />
Typefaces:<br />
TBD<br />
<br />
ISBN:<br />
TBD<br />
<br />
Special Issue Partners:<br />
Constant (Brussels), Het Nieuwe Instituut (Rotterdam), Leeszaal Rotterdam West, Varia (Rotterdam), <br />
<br />
This hybrid publication, ''Collectiveioning'' was realised with the expert help and guidance of Open Source Publishing (Brussels), the benevolent dictatorship of Aymeric Mansoux, the publishing midwifery of Clara Balaguer and Amy Suo Wu and the endless magic spun by Leslie Robbins.<br />
<br />
More information about XPUB projects and Special Issues:<br />
project.xpub.nl<br />
issue.xpub.nl<br />
<br />
Postal Address:<br />
Piet Zwart Institute<br />
Master of Arts in Fine Art and Design:<br />
Experimental Publishing<br />
P.O. Box 1272<br />
3000 BG Rotterdam<br />
The Netherlands<br />
<br />
Visiting address:<br />
Wijnhaven 61<br />
4th floor<br />
3011 WJ Rotterdam <br />
The Netherlands<br />
<br />
=Grad Theses=<br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf | Unravelling Disembodiment]]<br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony: Exploring toxic colonial legacies in Korean digital society]] <br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br><br />
Artemis Gryllaki: [https://project.xpub.nl/syster-papyri-magicae/ Syster Papyri Magicae]<br><br />
Pedro Sá Couto: [https://project.xpub.nl/tactical-watermarks/ Tactical Watermarks]<br><br />
Rita Graça: [https://project.xpub.nl/networks-of-care/ Networks of Care]<br><br />
Tancredi di Giovanni: [https://project.xpub.nl/ilinx/ Ilinx]<br><br />
Paloma García: [https://project.xpub.nl/cartographies-of-counter-speculation/ Cartographies of Counter-Speculation]<br><br />
Biyi Wen: [https://project.xpub.nl/the-repeater-archive/ The Repeater Archive ]<br><br />
Bohye Woo: [https://project.xpub.nl/parallel-colonialism/ Parallel Colonialism]<br><br />
<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=175831C o l l e c t i v e i o n i n g2020-07-06T13:11:37Z<p>Tancre: /* Publication */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
'''STYLE GUIDE:'''<br><br />
Long version:<br><br />
* Special Issue 07: Start up, Burn Out: Life Hacks<br />
* Special Issue 08: The Network we (de)Served<br />
* Special Issue 09: The Library Is Open<br />
<br />
Short version (always in italics):<br><br />
* ''Start up, Burn Out: Life Hacks''<br />
* ''The Network we (de)Served''<br />
* ''The Library Is Open''<br />
<br />
=introduction=<br />
<br />
==collectiveioning==<br />
''The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectivioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present the threads in our collective and individual research in a live online moment together on Friday, July 10, 2020 at 18:00. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
==pronunciation==<br />
'''SB:''' /kə 'lɛk tɪv yən nɪŋ/ is a mouthful of consonants and vowels joined together to make a new word spoken in many voices.<br><br />
'''BHW:''' /col ec 'tivio ning/ is a collection of works to share our voices into a one-whole-giant platform.<br><br />
'''PG:''' /co-lec-tí-bio-ning/ is a compilation of collective reflections, collaborative exercises, collective experiments, and common worlds to explore by individuals.<br><br />
'''AG:''' /kολε-κτί-βιο-νινγκ/ is collecting moments, memories, and collections collectively.<br><br />
'''TDG:''' /colleectiiiviòooniiing/ is an attempt to collect ive ion and ing.<br><br />
'''PSC:''' /cool-ectiveioning/ is not uniform, is using the uniform.<br><br />
'''BW:''' /ke lec ti vi on ne ing/ is to put nouns into adjectives and adjectives into verbs and verbs into nouns.<br><br />
'''RG:''' /collec-tí-ví-uuuuniiiing/ is a combination of our works and thoughts together as a group, team, band, class, gang, individuals, friends.<br><br />
<br />
'''ASW:''' Collectiveioning is a word collectively named by Simon Browne, Bohye Woo, Paloma García, Artemis Gryllaki, Tancredi di Giovanni, Pedro Sá Couto, Biyi Wen, and Rita Graça to encapsulate their graduation projects at the Experimental Publishing (XPUB) Masters of Piet Zwart Institute. The word is related to collections, collective time spent at XPUB, and collaborative working methods. This term was coined during an intense two-day online collective writing session in the depths of COVID-19, where bodies were separate but spirits were /collective-awning/.<br><br />
'''CB:''' /koh-lek-teev-yoh-níngk/ is a type of collaboration wherein individuals retain their autonomy within a collective process, but agree to present their work as a body that is continuous, a skeleton made of bones that cooperate with each other, despite any fractures that may arise.<br><br />
'''AM:''' /ko-lek-tiev-ah-vio-ning/ is a type of airplane navigation system that predates modern flight industry. At the time, this method relied on the collective steering of the apparatus and a complex decision making system to decide where to travel and what kind of journey should be experienced. After a few dramatic failures, this experimental form of navigation and exploration was forbidden by the council of airplane industry. It remains active in a few places in the Netherlands, mostly funded by amateur radio associations.<br><br />
<br />
==xpub==<br />
The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.<br />
<br />
===Class of 2020===<br />
Simon Browne<br><br />
Paloma García<br><br />
Tancredi di Giovanni<br><br />
Rita Graça<br><br />
Artemis Gryllaki<br><br />
Pedro Sá Couto<br><br />
Biyi Wen<br><br />
Bohye Woo<br><br />
<br />
==acknowledgements==<br />
Our deepest thanks to XPUB staff, to editors and invited guests from Special Issues, to servus.at for borrowed infrastructure, and to Sarah Magnan & Gijs de Heij from Open Source Publishing for working with us on producing this web-to-print publication.<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
[[File:Event_pic.jpg|480px]]<br />
==Introduction==<br />
''Start Up, Burn Out: Life Hacks'' is comprised of two core components, a book titled ''Ten Theses on Life Hacks'', which is an attempt to define criteria for what constitutes a Life Hack, and a device called ''Iris'', which purports to increase productivity in the workplace. ''Ten Theses on Life Hacks'' is meant to provide a widened perspective on Life Hacks and their relationship to our collective experiences and reflections. ''Iris'' aims to provide a real experience to each individual user. Ultimately, its goal is to achieve self-improvement.<br />
<br />
Both components rely on interaction with an end-user; ''Ten Theses on Life Hacks'' is bound by the reader, using a selection from an eclectic range of items so the user should have an active role and design a binding technique through an improvised Life Hack strategy. ''Iris'' requires the presence of the user to be triggered and the subsequent reflection time to be processed by the listener.<br />
<br />
==Publications==<br />
===Ten Theses on Life Hacks===<br />
Life Hacks are small improvisational interventions to the immediate environment; spontaneous actions that aim to improve or adapt materials to specific needs. They are diasporic, shared within communities both on- and offline in ever-increasing processes of self-optimisation. Understanding Life Hacks in the context of an advanced capitalist society raises the question of the ambiguity of a system in which the entrepreneurial routine of the self is internalized to perform an ever-working life. In actuality, Life Hacks bring about the possibility of reappropriating everyday life in a creative and practical response, managing precarity and complexity.<br />
<br />
This publication consists of ten theses, the first of which is a selection of criteria that allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments supported by examples, on how to identify specific features of Life Hacks, in which environment (and space) they exist and what kind of culture they foster.<br />
<br />
<br />
====PDF====<br />
[[File:X theses.pdf]]<br />
<br />
====Photos====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
Ten-theses-pub.jpeg<br />
Ten theses set.png<br />
</gallery><br />
<br />
===Iris===<br />
''(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶''<br />
<br />
''A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.''<br />
<br />
Iris takes the appearance of a manufactured product; a compact 3D-printed shell that contains a Raspberry Pi and two speakers, and at the top of the device, an infinity mirror with an LED strip and a camera. When it detects movement via the camera it starts to speak, and the LEDs, connected to the audio levels of the output, start to glow at a different intensity in relation to the strength of the audio signal. When the device is active, the infinity mirror produces a combination of an endless light corridor and a faint reflection of oneself.<br />
<br />
Iris is a physical device, ostensibly, an “artificial intelligence”, whose aim is to increase productivity. It is installed in work environments where workers can easily interact with it. However, the device is inhabited by three different personalities: Corporate Guru, Pirate Signal and Announcer. The interactions with and conflicts between these three personalities force the user to adopt a reflexive and critical attitude toward the device. The user triggers the performance and is placed in an ambiguous position; doubtful if the emphasis is on productivity or happiness.<br />
<br />
The Corporate Guru invites the user to repeat positive affirmations and invite self-inquiry into their thoughts as part of a meditative session. Its soothing voice is interrupted unexpectedly by the raspy, computerised whisper of a Pirate Signal, who responds with snarky asides that cast doubt on the Guru’s instructions and the very process of taking part in such sessions. Whether the Pirate Signal is part of the corporate manufacturer’s design or not is not clear; it could easily be coming from an outside infiltrator (e.g. a hacktivist) whose aim is to subvert the process. The third voice is of an Announcer, who, every hour, between 9:00 and 17:00 (apart from a lunch break at 13:00), describes a work-related problem and a Life Hack which addresses it, reminding workers of their autonomy and suggesting practical ways to improve their everyday lives in small, improvisational actions.<br />
<br />
====Photos====<br />
<gallery><br />
Iris_01.jpg<br />
Iris_02.jpg<br />
Iris_03.jpg<br />
Iris_04.jpg<br />
Iris_05.jpg<br />
Iris_06.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018.<br />
<br />
A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
=Special Issue 08: The Network we (de)Served=<br />
[[File:INFRASTRUCTOUR-4.jpg|480px]]<br />
==Introduction==<br />
''The Network we (de)Served'' became a site of learning for a group of experimental publishers to explore how networked technologies could become publishing tools. We traversed several layers, from local area networks to the web and the larger internet. We spent time examining different protocols and network concepts such as IP, DNS, HTTP, SSH & XMPP that are inherently part of the networked infrastructures we use every day. Eventually, we moved from using the IP addresses of our home connections, to making use of, and mapping those to domain names acquired at gratis DNS providers, using traceroutes to finding out how we were interconnected with each other, and how to cross-reference these connections with hyperlinks. Sometimes it was frustrating, but mostly it was a lot of fun.<br />
<br />
===The Infrastructour===<br />
''We travelled from home to home by bicycle, setting up homeservers. As friends and companions on this Infrastructour, we studied our routers over drinks served by our hosts. Where possible we installed our servers in our homes, in other cases we had to depend on another member of the group. While self-hosting together we questioned our understandings of networks, autonomy, online publishing and social infrastructures, where each of us departed from a different question. We would like to share our personal (yet interconnected) routes with you, tell you a story, present our web- and printed zines, and invite you to explore our homebrewed network.''<br />
<br />
Out of this work has emerged a series of mixed media publications that are based on the individual experiences, questions and investigations. These publications take the form of handcrafted HTML webzines that exist online on the various self-hosted servers, and offline as their HTML-to-print equivalents. Together they form a distinct set of perspectives on issues ranging from network politics, publishing methods, visualisation, mapping and graphing of human and machine topologies, as well as reflections on online sociality. These distinct perspectives have been grouped in a few categories that the reader can use as a guide through the publication.<br />
<br />
===Categories===<br />
WHAT IS A NETWORK?<br><br />
We discuss questions ranging from the relationship between topology and geography, to the interrelation between technical and social networks. In particular, we are looking at networks of home servers, networks of hosts taking care of these servers, the infrastructure of the city as a network of routes, and the network as a collection of interconnected related topics in our research.<br />
<br />
AUTONOMY AND ITS CONTINGENCIES<br><br />
Gaining agency in a networked through self-hosting can easily be mistaken for autonomy. Indeed, since the very first 'Declaration of Independence of Cyberspace', networked environments have been rife with discussions surrounding free speech, freedom, independence and autonomy. The practice of self-hosting though, simultaneously questions these one-dimensional understandings of autonomy as it opens up questions of materiality, skills, access, privileges and affordance. How can we shift discussions about independence to the understanding of interdependence?<br />
<br />
SOCIAL NETWORKS<br><br />
Thinking about networks should not be limited to discussing their technological infrastructure, but also, to question their social component. This is particularly relevant for social networking platforms that reflect and reinforce established modes of socialisation and subjectivation. How can self-hosting help understand what it means to become a node and relate to others? How can a practical approach to working with network(ed) technologies allow for exploring the inherent forms of sociality found in networking tools?<br />
<br />
NETWORK(ED) PUBLISHING<br><br />
Installing our servers, hosting content on them and building tools that can make use of custom infrastructures allow for the deep integration between writing, editing, annotating and designing content. We were particularly interested in running experiments with building tools for publishing at different speeds: from daily notes and archived conversations to glossaries and long-form essays written over time. How can we publish a network, how can we translate its mechanisms, activities and attitudes?<br />
<br />
MAPPING NETWORKS<br><br />
Finding ways to map or visualise networks quickly became a strategy to question implicit ideals and ideologies found in them. What does it mean to draw relations as direct lines between nodes? How do understandings of a network can change if we don't think in terms of nodes but knots? How to visualise disconnections and inconsistencies? how to map a network as an evolving system? How to think about scale, the spaces between nodes and go beyond the superficiality of buzzwords like (de)centralisation?<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
19 01 20 dependencies.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Roel Roscam Abbing, Manetta Berends, Lídia Pereira, André Castro, Aymeric Mansoux, Michael Murtaugh, Steve Rushton, Leslie Robbins.<br />
<br />
Brought to you by the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) of the Piet Zwart Institute, and Varia, Centre for Everyday Technology, Rotterdam, April 2019.<br />
<br />
==Publication==<br />
===Publication launch at Varia===<br />
<br />
<gallery><br />
Me.jpg<br />
si8_event1.jpg<br />
si8_event3.jpg<br />
</gallery><br />
<br />
===Web zines===<br />
<gallery><br />
Screenshot_2020-07-02_at_17.05.44.png|Relying on self-hosting and at the same time managing it, Pedro Sá Couto<br />
rita_website_si8.jpg|Alive, fully in motion, unstable, decaying, dying, restarting. Rita Graça<br />
simon_website_si8.png|''From Networks to Knotworks'', Simon Browne. Understanding networks (digital and social) by walking, drawing, serving, mapping.<br />
Artemis_website_si8.png|''Questions on (Social) Networks'', Artemis Gryllaki. Navigating through a collection of articles around social networks.<br />
Cyb_map.png|''A text within a map'', Tancredi Di Giovanni. Then you realize that were there was one thing, actually there are few, and more you zoom into more universes you'll find with billion of ideas. <br />
</gallery><br />
<br />
===Printed zines===<br />
<br />
<gallery><br />
si8_image1.jpg<br />
si8_image7.jpg<br />
Si8 event.jpg<br />
si8_image8.jpg<br />
si8_image2.jpg<br />
si8_image3.jpg<br />
si8_image4.jpg<br />
si8_image_5.jpg<br />
Livingroom.jpg<br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
si8_box3.jpg<br />
si8_image6.jpg<br />
SI8_printed_zines.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
[[File:Workshop.jpg|480px]]<br />
== Introduction ==<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”. In a printed publication of the same title we documented the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
===Workshop descriptions===<br />
''The Library Is Open invites you to an afternoon of workshops that make the operations within libraries visible. Join us in exploring the actions and roles of legal and extra-legal libraries (municipal, pirate, academic, +++), their custodians, and the public that form a community around collections of texts.''<br />
<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
<gallery><br />
File:purplepaper.jpg<br />
File:form_fill.jpg<br />
File:00006.jpg<br />
File:00007.jpg<br />
File:000010.jpg<br />
File:00003.jpg<br />
File:000011.jpg<br />
File:000014.jpg<br />
</gallery><br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them? In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library.<br />
<br />
<gallery><br />
thio02.jpg<br />
thio03.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
Pp06.jpg<br />
Performanceletter01.jpg<br />
</gallery><br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Knowledge_in_action1.jpg<br />
Knowledge_in_action2.jpg<br />
Knowledge_in_action3.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Shadow_library.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors:<br />
Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Femke Snelting, Biyi Wen, Bohye Woo<br />
<br />
Special thanks to:<br />
Partnering institute Constant (BE), Leezsaal Rotterdam West, Bodó Balázs, Dušan Barok, Anita Burato, André Castro, Aymeric Mansoux, Michael Murtaugh, Martino Morandi, Leslie Robbins, Steve Rushton, Amy Suo Wu, Eva Weinmayr<br />
<br />
==Publication ==<br />
''The Library Is Open'' was printed and published in June 2019 and launched at the 2019 Graduation Show. It includes descriptions, processes and outcomes of the workshops held at Leeszaal Rotterdam West, interviews with Marcell Mars, Dusan Barok, Dubravka Sekulic and librarians of Leeszaal, and an appendix of open letters; guest editor Femke Snelting's introduction to the 2019 iteration of Interfacing the Law, the letter "In Support of Library Genesis and Sci-Hub" from the website custodians.online, and Alexandra Elbakyan's response to the presiding judge in the court case "Elsevier Inc. et al v. Sci-Hub et al".<br />
<br />
<gallery><br />
TLIO 01.png<br />
TLIO 02.png<br />
TLIO 03.png<br />
TLIO 04.png<br />
TLIO 05.png<br />
TLIO 06.png<br />
TLIO 07.png<br />
TLIO 08.png<br />
TLIO 09.jpg<br />
TLIO 10.jpg<br />
TLIO 11.jpg<br />
</gallery><br />
<br />
====PDF====<br />
[[File:The_Library_is_Open.pdf | The Library Is Open PDF]]<br />
<br />
<br />
=Colophon=<br />
''Collectiveioning'' is a publication of work produced within the context of the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam.<br />
<br />
Course Director XPUB:<br />
Aymeric Mansoux<br />
<br />
Administration:<br />
Leslie Robbins<br />
<br />
Tutors:<br />
Clara Balaguer, André Castro, Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu<br />
<br />
Thesis supervisors:<br />
Steve Rushton, Marloes de Valk<br />
<br />
Grad project supervisors:<br />
Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu, André Castro, Clara Balaguer<br />
<br />
External examiner 2020:<br />
Marina Otero Vezier<br />
<br />
Research, editing and production:<br />
Simon Browne,<br />
Tancredi di Giovanni,<br />
Paloma García,<br />
Rita Graça,<br />
Artemis Gryllaki,<br />
Pedro Sá Couto,<br />
Biyi Wen,<br />
Bohye Woo<br />
<br />
Licenses:<br />
''the bootleg library'', Simon Browne, 2020. This work is published under the Free Art Licence.<br />
Tancredi di Giovanni<br />
Paloma García<br />
Rita Graça<br />
Syster Systems & Syster Papyri Magicae, Artemis Gryllaki, 2020. This work is published under the Peer Production License (PPL)<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Bohye Woo<br />
<br />
Publisher:<br />
XPUB, Rotterdam<br />
<br />
Print run:<br />
TBD<br />
<br />
Printed at:<br />
TBD<br />
<br />
Bound at:<br />
TBD<br />
<br />
Paper:<br />
TBD<br />
<br />
Typefaces:<br />
TBD<br />
<br />
ISBN:<br />
TBD<br />
<br />
Special Issue Partners:<br />
Constant (Brussels), Het Nieuwe Instituut (Rotterdam), Leeszaal Rotterdam West, Varia (Rotterdam), <br />
<br />
This hybrid publication, ''Collectiveioning'' was realised with the expert help and guidance of Open Source Publishing (Brussels), the benevolent dictatorship of Aymeric Mansoux, the publishing midwifery of Clara Balaguer and Amy Suo Wu and the endless magic spun by Leslie Robbins.<br />
<br />
More information about XPUB projects and Special Issues:<br />
project.xpub.nl<br />
issue.xpub.nl<br />
<br />
Postal Address:<br />
Piet Zwart Institute<br />
Master of Arts in Fine Art and Design:<br />
Experimental Publishing<br />
P.O. Box 1272<br />
3000 BG Rotterdam<br />
The Netherlands<br />
<br />
Visiting address:<br />
Wijnhaven 61<br />
4th floor<br />
3011 WJ Rotterdam <br />
The Netherlands<br />
<br />
=Grad Theses=<br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf | Unravelling Disembodiment]]<br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony: Exploring toxic colonial legacies in Korean digital society]] <br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br><br />
Artemis Gryllaki: [https://project.xpub.nl/syster-papyri-magicae/ Syster Papyri Magicae]<br><br />
Pedro Sá Couto: [https://project.xpub.nl/tactical-watermarks/ Tactical Watermarks]<br><br />
Rita Graça: [https://project.xpub.nl/networks-of-care/ Networks of Care]<br><br />
Tancredi di Giovanni: [https://project.xpub.nl/ilinx/ Ilinx]<br><br />
Paloma García: [https://project.xpub.nl/cartographies-of-counter-speculation/ Cartographies of Counter-Speculation]<br><br />
Biyi Wen: [https://project.xpub.nl/the-repeater-archive/ The Repeater Archive ]<br><br />
Bohye Woo: [https://project.xpub.nl/parallel-colonialism/ Parallel Colonialism]<br><br />
<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Cyb_map.png&diff=175830File:Cyb map.png2020-07-06T13:02:29Z<p>Tancre: </p>
<hr />
<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Special_Issue&diff=175240Special Issue2020-06-21T17:38:10Z<p>Tancre: /* #7 Special Issue: Life Hacks - trim 1 Start up, Burn out: Life Hacks */</p>
<hr />
<div>Special Issue is the new Trimester-ally released publication created by the XPub master's students. The publication allows us to explore workflows, collaboration, open source publication techniques, and investigate not only the individual themes of each editions, but also the definition of what is or can be a publication. <br />
<br />
Below you can find a link to more detailed information of the process, notes, works in progress, articles and more. <br />
<br />
=Issues=<br />
==2019/2020==<br />
=== #11 [[:Category:Post-Digital_Itch|Post-Digital_Itch]] ===<br />
=== #10 [[:Category:Lfp|LFP]]===<br />
<br />
==2018/2019==<br />
===#9 - [[Interfacing_the_law]] ===<br />
* [https://pad.xpub.nl/p/special_issue_9_pads_index Pad's Index Special issue 9]<br />
<br />
===#8 - [[The Network we (de)Served]] - trim 2 ===<br />
https://pad.xpub.nl/p/special_issue_8_pads_index<br />
<br />
=== #7 [[Special Issue: Life Hacks]] - trim 1 [[Category:Start up, Burn out: Life Hacks|Start up, Burn out: Life Hacks]] ===<br />
<br />
==2017/2018==<br />
=== #6 [[Interfacing_the_law]] - trim 3===<br />
=== #5 [[OuNuPo]] - trim 2 ===<br />
=== #4 [[Autonomous_Archive]] - trim 1 ===<br />
<br />
==2016/2017==<br />
=== #3 [[Interfacing_the_law_(2017)|Interfacing_the_law]] - trim3 2016/2017===<br />
=== #2 [[Pushing_the_Score]] - trim2 2016/2017===<br />
=== #1 [[Op is Op]] - trim1 2016/2017 ===<br />
* [[File:presentation 310CT.pdf]]<br />
<br />
<br />
<br />
[[Category:XPUB]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/23-06-2020_-Event_5&diff=175048Calendars:Networked Media Calendar/Networked Media Calendar/23-06-2020 -Event 52020-06-19T21:34:02Z<p>Tancre: </p>
<hr />
<div>XPUB2: Final Assessment 09:30 - 18:10 with Amy Suo Wu, Aymeric Mansoux, Michael Murtaugh, Steve Rushton and Marina Otero Vezier as external examiner, in <br />
platform and schedule to follow<br />
<br />
*09:30 - 10:00 - staff meets <br />
*10:00 - 10:40 Pedro (Option 2)<br />
*10:50 - 11:30 Bo<br />
*11:30 - 11:50 20 minute break<br />
*11:50 - 12:30 Rita (Option 2)<br />
*12:40 - 13:20 Artemis (Option 2)<br />
*13:20 - 14:20 lunch<br />
*14:20 - 15:00 Biyi (Option 2)<br />
*15:10 - 15:50 Paloma (option 2)<br />
*15:50 - 16:10 20 minute break<br />
*16:10 - 16:50 Simon (Option 2)<br />
*17:00 - 17:40 Tancre (option 2)<br />
*17:40 - 18:10 - staff discussion <br />
<br />
*Presentation schedule<br />
*20 minutes: initial student presentation<br />
*5 minutes: the panel can ask questions regarding the material you have presented both orally and in advance.<br />
*5 Minutes: we ask you to leave, so the panel can discuss your research and presentation<br />
*10 minutes: the panel will discuss with you your research and give you feedback.<br />
<br />
*Please upload your XPUB1&2 presentation text, graduation project documentation and thesis here at the latest Friday 19 @ June 23:55:<br />
https://hrnl.sharepoint.com/sites/WdKA-XPub/Shared%20Documents/Forms/AllItems.aspx?csf=1&e=y5gqRO&cid=c12ee761%2Da3e9%2D43c0%2D93ed%2Dcabf54422490&FolderCTID=0x012000AC5464400751B44F88C88D1B1D3AE042&viewid=e14ca528%2D7cdc%2D46e3%2Dbabb%2Dc8a8797f2268&id=%2Fsites%2FWdKA%2DXPub%2FShared%20Documents%2FLB%2DXPUB%2DArchive%2FMFAD%5Ftrim1%2D6%5FStudent%5FWork%5FArchive%5F2018%2D2020%2FXPUB%2FWDK12M%2DMAM%2DV4%5F49114%5F99%2DMMDV%5FXPUB%5Ftrim6%5F2018%2D2020<br />
*++++++=== as taken from the Curriculum_adaptations_in_relation_to_COVID-19-V1.0_XPUB docuementto the Handbook 2020 -2021<br />
<br />
*TRIMESTER 6 FINAL ASSESSMENT<br />
<br />
All the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the course director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
The overall process has been unchanged; however, some aspects of what material is assessed and how it will be assessed have been modified:<br />
• The final assessment will be done online via a video chat.<br />
• In agreement with the second year's students, the final assessment date was shifted from 16 June to 23 June.<br />
• The delivery of material for the archive, and for the reviewing by the external examiner, has been delayed as much as possible to maximize the amount of time you have left to work on graduation work.<br />
* As usual, it is expected to have an overall presentation of your work and research throughout the two years in the programme, namely: <br />
*1. your individual contribution to the special issues, <br />
*2. the development of your reading/writing practice, <br />
*3. the development of your prototyping practice, <br />
*4. your thesis (for the thesis we only expect a brief overview for context, as this is assessed separately in more depth), and <br />
*5. your final work and research in the second year. <br />
* However, due to the current situation that has significantly impaired the material means to produce the final work and possibly affected its associated research, we offer three options to present and discuss point 5. These options will significantly determine the final form and content of your second-year graduation work:<br />
* Option 1: the work and research were unaffected, or barely affected by the situation, it is therefore presented and made available in the same conditions as originally<br />
planned. For instance: the work exists as a digital object and was meant to be published online since the beginning.<br />
* Option 2: the work and research were partly affected by the situation; it was, therefore, necessary to adapt it into a more suitable format and possibly change plans to replace some components with more suitable ones. For instance: a part of the work involved IRL participation of communities, IRL access to specific locations that are now closed, or for which the “1.5m rules” makes it impossible to follow the original plan. However other aspects of the work have been unchanged and unaffected.<br />
* Option 3: the work and research were fully affected by the situation; simply put it’s not possible to finalize the work and research in any way. As a result, what is presented are: the original concept, the process so far, the thorough documentation of sketches and prototypes, and possible future developments. For instance: the final work solely relies on IRL participation and activities and there is absolutely no possibility to adapt it without making the whole project meaningless or irrelevant.<br />
It is important that during the assessment you explicitly announce which strategy you chose, and briefly support the reasoning behind such choice. Do not make this choice on your own! It is important that this decision is made and approved in discussion with the two dedicated tutors who are supervising your final work and can provide supplementary insight on such decisions during the jury deliberation, especially in the situation where others may raise concerns or issues with the point 5 of your presentation.<br />
*++++++++ taken from the XPUB Handbook 2019-2020, pages 28 - 29<br />
<br />
1.1.7 Integrated Summative Assessment: Graduate Project/Thesis (Trimester 6)<br />
<br />
**The third and final integrated assessment is held at the end of trimester 6. At this juncture, students are expected to prepare and deliver a formal presentation of their finished Graduation Project and related graduation thesis. Passing this integrated formative assessment allows the ECTS for fifth and sixth terms to be awarded.<br />
<br />
**The Graduation Project should demonstrate the insights and experiences gained throughout the program and to translate their implications into individual work and working methods. In this process, students are expected to be able to not only produce new work, but also to develop a strong sense of the criteria that are crucial for the evaluation and development of their own creative work. <br />
<br />
Assessment Criteria for a Graduation Project <br />
<br />
**The graduation project should result in a presentation of new work, that combined with the thesis demonstrates the student’s attainment of the agreed learning outcomes (as laid out in the Course handbook Section 3.2 ). In this way the programmes’ agreed Final Competencies from the basis of the Assessment Criteria for a Graduation Project at a Master level.<br />
<br />
*1. Creative ability: They have developed the independent learning ability required to create innovative, challenging, significant, and coherent projects that are based on clearly articulated approaches and intention.<br />
*2. Capacity to conduct self-directed research: They can identify the relevant subject matter, questions, and formulate distinct areas of research.<br />
*3. Research methodologies: They can harness skills of research, analysis and synthesis to the development of creative projects.<br />
*4. Technical fluency: They can demonstrate an analytical grasp of the underlying technical and conceptual principles of practices relevant to their field and work.<br />
*5. Organisational skills: They have the capacity to design, manage and execute effectively, complex and creative projects on their own or in collaboration with others, which bring together original combinations of media forms.<br />
*6. Capacity for innovation: They have developed flexible work practices that can be employed in a wide variety of production contexts and have the technical conceptual skills for dealing with new forms and unforeseen challenges.<br />
*7. Critical reflection and awareness of context: They can critically reflect on relevant issues related to a larger social context and make informed decisions about the positioning of their work and methods of production. This critical reflection should be expressed through both practice, and verbal analysis of intention: reflections on process and creative output.<br />
*8. Communication skills: They can communicate their intention, context, process, and perceived results– with clear written and oral descriptions to both experts and general audiences.<br />
<br />
<br />
6 Assessment Procedure<br />
6.1 Integrated Assessments: <br />
**As described above, all the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the Course Director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
<br />
Prior to the assessment process you must archive documentation and elements of the work and research you wish to submit for examination. We will not pass people who have not delivered appropriate documentation of their work on time. See http://pzwiki.wdka.nl/mediadesign/Archive_Protocol for archiving instructions.</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-06-2020_-Event_4&diff=173680Calendars:Networked Media Calendar/Networked Media Calendar/17-06-2020 -Event 42020-06-07T14:49:46Z<p>Tancre: </p>
<hr />
<div>XPUB2: tutorials with Michael https://hotline.xpub.nl/serenity<br />
<br />
''nb: morning slots 80 minutes''<br />
<br />
* 10:00 - 11:20 Paloma<br />
* 11:30 - 12:50 Biyi<br />
<br />
''nb: afternoon slots 50 minutes''<br />
<br />
* 14:00 - 14:50 Simon<br />
* 15:00 - 15:50 Artemis<br />
* 16:00 - 16:50 Bo<br />
* 17:00 - 17:50 Tancre</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/03-06-2020_-Event_3&diff=173093Calendars:Networked Media Calendar/Networked Media Calendar/03-06-2020 -Event 32020-06-01T13:44:55Z<p>Tancre: </p>
<hr />
<div>XPUB2: tutorials with Michael https://hotline.xpub.nl/serenity<br />
<br />
''nb: morning slots 80 minutes''<br />
<br />
* 10:00 - 11:20 Simon<br />
* 11:30 - 12:50 biyi<br />
<br />
''nb: afternoon slots 50 minutes''<br />
<br />
* 14:00 - 14:50 Paloma<br />
* 15:00 - 15:50 <br />
* 16:00 - 16:50 Artemis<br />
* 17:00 - 17:50 Tancre</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171901Ilinx/Main Nodes2020-05-19T13:09:11Z<p>Tancre: /* Something with infinite scroll */</p>
<hr />
<div><br />
=== Islands Map ===<br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10 (or more)<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
links? all the same or someone specifically changed<br />
<br />
=== Hypervirus ===<br />
Nick Land's text Hypervirus > each word draggable (hocr + jquery UI)<br />
<br />
=== Flatline ===<br />
Ccru's text Flatline > made in expandable sections as Wittgenstein's Tractatus<br />
+ popups etc..<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW move] > draw a paragraph 2 from [http://www.ecafe.com/84manifesto.html ECI manifesto] that move and slowly disappear.<br />
<br />
=== Buttons win ===<br />
> window full of buttons that if you click 'this'.disappear<br />
or link or something something<br />
<br />
it could be that for each button there is a word of a text so if you click that word disappear<br />
<br />
=== Non-spaces ===<br />
4/5 kinds of white pages and each has a difference in how the code is rendered by the browser<br />
+<br />
DOM annihilator > page that automatically runs a code that delete the DOM<br />
<br />
=== Gaph maps ===<br />
series of map on different arguments using [https://github.com/ogobrecht/d3-force-apex-plugin this] implementation of D3.js<br />
<br />
=== Vbush ===<br />
Series of pages augmenting Bush's text 'as we may think' using only CSS <br><br />
* letter-space<br />
* word-space<br />
* line-heigh<br />
+ animations<br />
<br />
=== Divine Invasion ===<br />
Augmentation of Dick's 'Divine Invasion' > narrative passing through different dimensions <br />
* leaflet<br />
* pop-up windows<br />
* empty space<br />
* inside the html code<br />
<br />
=== Filo XX ===<br />
map of phylosophy of the XXht century<br />
random name in space?<br />
<br />
=== Map thesis ===<br />
series of historical mappings related to my thesis <br />
* dragagble space and objects<br />
<br />
=== Melt Down ===<br />
texh in 'infinite space' > each phrase is randomly inserted in a tile<br />
<br />
=== Bgs ===<br />
randomly generated compositions of charachters + links<br />
<br />
=== Teletext ===<br />
text + graphic inspired by Thimoty Leary's Mind Mirror + cliccable stars <br />
<br />
=== Videoscale ===<br />
disotrted yt videos with transform:scale <br />
<br />
=== Div highlighter ===<br />
injected js show the borders of every div in the page <br />
<br />
=== Infinite scroll ===<br />
moving text >> scroll + div increase width</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171900Ilinx/Main Nodes2020-05-19T13:07:44Z<p>Tancre: </p>
<hr />
<div><br />
=== Islands Map ===<br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10 (or more)<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
links? all the same or someone specifically changed<br />
<br />
=== Hypervirus ===<br />
Nick Land's text Hypervirus > each word draggable (hocr + jquery UI)<br />
<br />
=== Flatline ===<br />
Ccru's text Flatline > made in expandable sections as Wittgenstein's Tractatus<br />
+ popups etc..<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW move] > draw a paragraph 2 from [http://www.ecafe.com/84manifesto.html ECI manifesto] that move and slowly disappear.<br />
<br />
=== Buttons win ===<br />
> window full of buttons that if you click 'this'.disappear<br />
or link or something something<br />
<br />
it could be that for each button there is a word of a text so if you click that word disappear<br />
<br />
=== Non-spaces ===<br />
4/5 kinds of white pages and each has a difference in how the code is rendered by the browser<br />
+<br />
DOM annihilator > page that automatically runs a code that delete the DOM<br />
<br />
=== Gaph maps ===<br />
series of map on different arguments using [https://github.com/ogobrecht/d3-force-apex-plugin this] implementation of D3.js<br />
<br />
=== Vbush ===<br />
Series of pages augmenting Bush's text 'as we may think' using only CSS <br><br />
* letter-space<br />
* word-space<br />
* line-heigh<br />
+ animations<br />
<br />
=== Divine Invasion ===<br />
Augmentation of Dick's 'Divine Invasion' > narrative passing through different dimensions <br />
* leaflet<br />
* pop-up windows<br />
* empty space<br />
* inside the html code<br />
<br />
=== Filo XX ===<br />
map of phylosophy of the XXht century<br />
random name in space?<br />
<br />
=== Map thesis ===<br />
series of historical mappings related to my thesis <br />
* dragagble space and objects<br />
<br />
=== Melt Down ===<br />
texh in 'infinite space' > each phrase is randomly inserted in a tile<br />
<br />
=== Bgs ===<br />
randomly generated compositions of charachters + links<br />
<br />
=== Teletext ===<br />
text + graphic inspired by Thimoty Leary's Mind Mirror + cliccable stars <br />
<br />
=== Videoscale ===<br />
disotrted yt videos with transform:scale <br />
<br />
=== Div highlighter ===<br />
injected js show the borders of every div in the page <br />
<br />
=== Something with infinite scroll ===<br />
moving text >> scroll + div increase width</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=171781C o l l e c t i v e i o n i n g2020-05-18T10:34:44Z<p>Tancre: /* Special Issu 09 */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issu 07=<br />
=Special Issu 08=<br />
=Special Issu 09=<br />
== Short introduction to project and workshops ==<br />
== Publication ==<br />
== Workshops photos ==<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversation ===<br />
=== Knowledge in Action ===<br />
== Workshops' outcome photos ==<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversation ===<br />
=== Knowledge in Action ===<br />
<br />
=Theses=<br />
[[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br />
<br />
=Grad Projects=</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=171780C o l l e c t i v e i o n i n g2020-05-18T10:33:58Z<p>Tancre: /* Special Issu 09 */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issu 07=<br />
=Special Issu 08=<br />
=Special Issu 09=<br />
== Short introduction to project and workshops ==<br />
== Publication ==<br />
== Workshops photos ==<br />
=== Blurry Boundaries ==<br />
=== Marginal Conversation ===<br />
=== Knowledge in Action ===<br />
== Workshops' outcome photos ==<br />
=== Blurry Boundaries ==<br />
=== Marginal Conversation ===<br />
=== Knowledge in Action ===<br />
<br />
=Theses=<br />
[[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br />
<br />
=Grad Projects=</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=171779C o l l e c t i v e i o n i n g2020-05-18T10:25:58Z<p>Tancre: /* Special Issu 09 */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issu 07=<br />
=Special Issu 08=<br />
=Special Issu 09=<br />
<br />
=Theses=<br />
[[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br />
<br />
=Grad Projects=</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=171778C o l l e c t i v e i o n i n g2020-05-18T10:25:13Z<p>Tancre: /* Theses */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issu 07=<br />
=Special Issu 08=<br />
=Special Issu 09=<br />
=Theses=<br />
[[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br />
<br />
=Grad Projects=</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:OHE.pdf&diff=171775File:OHE.pdf2020-05-18T10:22:04Z<p>Tancre: </p>
<hr />
<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171702Ilinx/Main Nodes2020-05-15T15:32:11Z<p>Tancre: </p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10 (or more)<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
links? all the same or someone specifically changed<br />
<br />
=== Hypervirus ===<br />
Nick Land's text Hypervirus > each word draggable (hocr + jquery UI)<br />
<br />
=== Flatline ===<br />
Ccru's text Flatline > made in expandable sections as Wittgenstein's Tractatus<br />
+ popups etc..<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW move] > draw a paragraph 2 from [http://www.ecafe.com/84manifesto.html ECI manifesto] that move and slowly disappear.<br />
<br />
=== Buttons win ===<br />
> window full of buttons that if you click 'this'.disappear<br />
or link or something something<br />
<br />
it could be that for each button there is a word of a text so if you click that word disappear<br />
<br />
=== Non-spaces ===<br />
4/5 kinds of white pages and each has a difference in how the code is rendered by the browser<br />
+<br />
DOM annihilator > page that automatically runs a code that delete the DOM</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171699Ilinx/Main Nodes2020-05-15T15:19:09Z<p>Tancre: </p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10 (or more)<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
links? all the same or someone specifically changed<br />
<br />
=== Hypervirus ===<br />
Nick Land's text Hypervirus > each word draggable (hocr + jquery UI)<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW move] > draw a paragraph 2 from [http://www.ecafe.com/84manifesto.html ECI manifesto] that move and slowly disappear.<br />
<br />
=== Buttons win ===<br />
> window full of buttons that if you click 'this'.disappear<br />
or link or something something<br />
<br />
it could be that for each button there is a word of a text so if you click that word disappear<br />
<br />
=== Non-spaces ===<br />
4/5 kinds of white pages and each has a difference in how the code is rendered by the browser<br />
+<br />
DOM annihilator > page that automatically runs a code that delete the DOM</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171698Ilinx/Main Nodes2020-05-15T15:10:08Z<p>Tancre: /* Create & Destroy */</p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
<br />
=== Hypervirus ===<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW move] > draw a paragraph 2 from [http://www.ecafe.com/84manifesto.html ECI manifesto] that move and slowly disappear.</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171602Ilinx/Main Nodes2020-05-14T20:15:47Z<p>Tancre: /* Create & Destroy */</p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
<br />
=== Hypervirus ===<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW click and drag] > draw the [http://www.ecafe.com/84manifesto.html ECI manifesto]<br />
+<br />
button 'destroy' > clean canvas</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171601Ilinx/Main Nodes2020-05-14T20:15:34Z<p>Tancre: </p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
<br />
=== Hypervirus ===<br />
<br />
=== Create & Destroy ===<br />
[https://codepen.io/camaleonte/pen/ExVewPW | click and drag] > draw the [http://www.ecafe.com/84manifesto.html | ECI manifesto]<br />
+<br />
button 'destroy' > clean canvas</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171562Ilinx/Main Nodes2020-05-14T16:13:45Z<p>Tancre: /* Homeostasis */</p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostat ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents<br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
<br />
== Hypervirus ===</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Main_Nodes&diff=171561Ilinx/Main Nodes2020-05-14T16:13:32Z<p>Tancre: Created page with " === Clippy === * just clippy * Clippy world > a bunch of clippies moving caothically and shouting things(which things?) * Clippy Eliza > interaction with ELIZA through a tex..."</p>
<hr />
<div><br />
<br />
=== Clippy ===<br />
* just clippy<br />
* Clippy world > a bunch of clippies moving caothically and shouting things(which things?)<br />
* Clippy Eliza > interaction with ELIZA through a text box BUT Clippy replies instead of ELIZA + each time a new clippy appear and find a spot in the window >> space saturated by clippies<br />
<br />
clippy will appear in other context as a narrator<br />
<br />
=== Homeostasis ===<br />
''Ashby's Homeostat'' reproduced through 4 pages/states looped with the metarefresh method <br><br />
Each page/state contains a series of documents of Ashby and its homeostat retrieved randomly from an archive folder.<br />
2 povs:<br />
* outside the homeostat > 4 iframes capture the movemet of the homeostat trying to keep its stability jamping from one room to another<br />
* inste the homeostat > exploration of each room from inside - exploration of the document<br />
<br />
improvements<br />
allow readability > find a way to stabilize the images before the room jumps to the next state<br />
allow inter-navigation > develop interconnections between documents <br />
<br />
=== Tao Stars ===<br />
linear narrative of an augmented ''Tao Te Ching'' from ''Ursula K. Le Guin'' [http://www.sfhunyuan.com/images/TAO_TE_CHING_-_LE_GUIN_edition.pdf |x]<br />
<br />
* starfield background + vortex of stars on-click<br />
* at the end series of buttons that leads to black space with written on all of them 'end'<br />
<br />
=== Multiskope ===<br />
destrutturalization of monoskop<br />
* series x 10<br />
<br />
interactions? on click something happen<br />
augmentation of the text? reuse the texts by changing some element<br />
<br />
== Hypervirus ===</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=171556Ilinx2020-05-14T15:53:33Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. The result of this research, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality (past, present and future). <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I broke my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install different OS unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact signed the total vertigo slowly banishing (me), the thief-author from the ownership of my own work . Here comes the > spiral <br />
In that period I started to read the texts of the CCRU. I was already aware of the converging forces linking my practice and my theories to their weird work. To mention some, my early passion for Kode9 and the uk-bass dubstep scene, Matthew Fuller who was 'one fo them', the discourse on theory/fiction/reality and more theoretical subjects I'm exploring and which the CCRU seems to mirror in their odd visions from the past.<br />
<br />
> ccru<br />
<br />
> hyperstition<br />
<br />
> spiral<br />
<br />
> pataphisics<br />
<br />
> cults - secret societies - mysterous mythological islands<br />
<br />
> the vision of lemuria - mu - thule - hyperborea<br />
<br />
> ilinx<br />
<br />
> disturbing dreams <br />
<br />
> jumanji effect<br />
<br />
> what ilinx really is<br />
<br />
== Actual situation ==<br />
* designing the starting point/facade of the world of ilinx/landing page (see main/variations/index.html) and populate it.<br />
* writing different texts [as this text itself] as:<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
* working with Andre to host Ilinx linking my home-server to the (xp)hub >> hub.xpub.nl/ilinx<br />
* defining a methodology for the audio (my friend is already working based on the details I passed her)<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
[[ilinx/Main_Nodes| <p style="color: lawngreen; font-size: 25px; ">Main Nodes</p>]]<br />
<br />
== Collecting References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Exercises_in_Ilinx_self-definition&diff=169660Ilinx/Exercises in Ilinx self-definition2020-04-19T16:12:24Z<p>Tancre: /* The real story */</p>
<hr />
<div>Ilinx or the pursuit of vertigo.<br />
<br />
emphasis upon masks and states of possession VS order / hierarchy / codification<br />
<br />
Nothing is more revealing than vertigo. That strange excitement taht is felt in cutting down the tall prairie and flowers <br />
<br />
The destinies of cultures can be read in their game. <br />
<br />
States <br />
<br />
== The story ==<br />
<br />
== The real story == <br />
<br />
''' Ilinx is the re-creational becoming of nonhuman deities. Never-perfect and ever-volatile game^play of time spiraling out of control. Self-referential gyration, rapid whirling or falling movement.posession in a state of dizziness and disorder. VIrtuo-viral infection that spreads contagiously and makes contagious the unpredictable {"very-Unlike closed loops"}; Ilinx is the Loose ends terminal of the templex-interface. '''<br />
<br />
Th_e legend[0] he(r)e expressed, has be.en un-/-veild by speciialized top-secret* research(es. [[It is not clear, hoWever, who is the actual lender of this excavations](apparently there seem:s to be multiple sources most of which tend's to volitalize when posed under scurutiny)]. <br />
Has reported from other sources[n-1] operating in N'ma area: stories on tchattuk refer to them always as stealing something from Katak.<br />
<br />
> KAttchuk<br />
<br />
Our beta-researchers are working effortlessly to unpack the recursive black-boxed Ilinx circuitry. They come to a first conclusion that Ilinx could be an hyperstitional machinery. Its innermost-mechanisms generate randomic assemblages of verbal/non-verbal signifiers that can be researched and studied through their potential futurability. This perspective claims to open new frontiers in space-independent time-shifting <br />
<br />
<pre><br />
+-----------------------------------------------------------------------+<br />
| Ilinx is the ultimate machinic time-device for evaluation and access. |<br />
| * Useful as tool |<br />
| * Relevant to independent (dys.edu)cation |<br />
| * Hyper quality and less than lower price |<br />
| * NOT ALREADY COMMON KNOWLEDGE |<br />
| * Easily available in cyberspace |<br />
+-----------------------------------------------------------------------+<br />
</pre><br />
<br />
[[File:Hu-02-ponsot-klein-worms-1971.png| thumb ]]<br />
Ilinx information processing manifests itself as the absolute-zero stratum where temporal Klein worms re-enacts its entangled structural rizhomes. The spiraling temporalities produced by such symbiontical prolification of machinic post-biotic organims allows different multi-parallel layers of meaning to meltdown in a continuum of morpho-cosmical piracy.<br />
<br />
Many readers have puzzled over the meaning of Ilinx.<br />
What does it mean? <br />
Is a metaphor of god? <br />
Are we still alive? <br />
Actually, this is meant to tell you that we can't be sure of anything in the world that we call 'reality.'<br />
It is possible that we are all dead and in cold pac or that the half-life world can affect the full-life world. <br />
It is also possible that Ilinx is alive and dreaming.<br />
<br />
Indeed, linx is the spiral of time ...but which time?<br />
<br />
for humans > “Time is a human affliction; not a human invention but a prison” <br />
“Time is that which ends. Time is limited time experienced by a sentient creature. Sentient of time, that is – making adjustments to time in terms of what Korzybski calls neuro-muscular intention behaviour with respect to the environment as a whole ... A plant turns towards the sun, nocturnal animal stirs at sun set ... shit, piss, move, eat, fuck, die. Why does Control need humans? Control needs time. Control needs human time. Control needs yourshit piss pain orgasm death”<br />
<br />
<br />
<br />
* A cosmic H-bomb A mass destruction K-weapon. <br />
* simon's game as the idealization of multi-parallell temporalities</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Exercises_in_Ilinx_self-definition&diff=169657Ilinx/Exercises in Ilinx self-definition2020-04-19T15:55:05Z<p>Tancre: /* The real story */</p>
<hr />
<div>Ilinx or the pursuit of vertigo.<br />
<br />
emphasis upon masks and states of possession VS order / hierarchy / codification<br />
<br />
Nothing is more revealing than vertigo. That strange excitement taht is felt in cutting down the tall prairie and flowers <br />
<br />
The destinies of cultures can be read in their game. <br />
<br />
States <br />
<br />
== The story ==<br />
<br />
== The real story == <br />
<br />
'''Ilinx is the re-creational becoming of nonhuman deities.<br />
Never-perfect and ever-volatile game^play of time spiraling out of control.<br />
Self-referential gyration, rapid whirling or falling movement.posession in a state of dizziness and disorder.<br />
VIrtuo-viral infection that spreads contagiously and makes contagious the unpredictable {"very-Unlike closed loops"};<br />
Ilinx is the Loose ends terminal of the templex-interface.'''<br />
<br />
Th_e legend[0] he(r)e expressed, has be.en un-/-veild by speciialized top-secret* research(es. [[It is not clear, hoWever, who is the actual lender of this excavations](apparently there seem:s to be multiple sources most of which tend's to volitalize when posed under scurutiny)]. <br />
Has reported from other sources[n-1] operating in N'ma area: stories on tchattuk refer to them always as stealing something from Katak.<br />
<br />
Our beta-researchers are working effortlessly to unpack the recursive black-boxed Ilinx circuitry. They come to a first conclusion that Ilinx could be an hyperstitional machinery. Its innermost-mechanisms generate randomic assemblages of verbal/non-verbal signifiers that can be researched and studied through their potential futurability. This perspective claims to open new frontiers in space-independent time-shifting <br />
<br />
--------------------------------------------------------------------<br />
Ilinx is the ultimate machinic time-device for evaluation and access.<br />
* Useful as tool <br />
* Relevant to independent (dys.edu)cation <br />
* Hyper quality and less than lower price <br />
* NOT ALREADY COMMON KNOWLEDGE<br />
* Easily available in cyberspace<br />
---------------------------------------------------------------------<br />
[[File:Hu-02-ponsot-klein-worms-1971.png| thumb ]]<br />
Ilinx information processing manifests itself as the absolute-zero stratum where temporal Klein worms re-enacts its entangled structural rizhomes. The spiraling temporalities produced by such symbiontical prolification of machinic post-biotic organims allows different multi-parallel layers of meaning to meltdown in a continuum of morpho-cosmical piracy.<br />
<br />
Many readers have puzzled over the meaning of Ilinx.<br />
What does it mean? <br />
Is a metaphor of god? <br />
Are we still alive? <br />
Actually, this is meant to tell you that we can't be sure of anything in the world that we call 'reality.'<br />
It is possible that we are all dead and in cold pac or that the half-life world can affect the full-life world. <br />
It is also possible that Ilinx is alive and dreaming.<br />
<br />
Indeed, linx is the spiral of time ...but which time?<br />
<br />
for humans > “Time is a human affliction; not a human invention but a prison” <br />
“Time is that which ends. Time is limited time experienced by a sentient creature. Sentient of time, that is – making adjustments to time in terms of what Korzybski calls neuro-muscular intention behaviour with respect to the environment as a whole ... A plant turns towards the sun, nocturnal animal stirs at sun set ... shit, piss, move, eat, fuck, die. Why does Control need humans? Control needs time. Control needs human time. Control needs yourshit piss pain orgasm death”<br />
<br />
<br />
<br />
* A cosmic H-bomb A mass destruction K-weapon. <br />
* simon's game as the idealization of multi-parallell temporalities</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169656Ilinx2020-04-19T15:48:15Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. The result of this research, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality (past, present and future). <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I broke my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install different OS unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact signed the total vertigo slowly banishing (me), the thief-author from the ownership of my own work . Here comes the > spiral <br />
In that period I started to read the texts of the CCRU. I was already aware of the converging forces linking my practice and my theories to their weird work. To mention some, my early passion for Kode9 and the uk-bass dubstep scene, Matthew Fuller who was 'one fo them', the discourse on theory/fiction/reality and more theoretical subjects I'm exploring and which the CCRU seems to mirror in their odd visions from the past.<br />
<br />
> ccru<br />
<br />
> hyperstition<br />
<br />
> spiral<br />
<br />
> pataphisics<br />
<br />
> cults - secret societies - mysterous mythological islands<br />
<br />
> the vision of lemuria - mu - thule - hyperborea<br />
<br />
> ilinx<br />
<br />
> disturbing dreams <br />
<br />
> jumanji effect<br />
<br />
> what ilinx really is<br />
<br />
== Actual situation ==<br />
* designing the starting point/facade of the world of ilinx/landing page (see main/variations/index.html) and populate it.<br />
* writing different texts [as this text itself] as:<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
* working with Andre to host Ilinx linking my home-server to the (xp)hub >> hub.xpub.nl/ilinx<br />
* defining a methodology for the audio (my friend is already working based on the details I passed her)<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
== Collecting References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Exercises_in_Ilinx_self-definition&diff=169640Ilinx/Exercises in Ilinx self-definition2020-04-19T15:21:25Z<p>Tancre: </p>
<hr />
<div>Ilinx or the pursuit of vertigo.<br />
<br />
emphasis upon masks and states of possession VS order / hierarchy / codification<br />
<br />
Nothing is more revealing than vertigo. That strange excitement taht is felt in cutting down the tall prairie and flowers <br />
<br />
The destinies of cultures can be read in their game. <br />
<br />
States <br />
<br />
== The story ==<br />
<br />
== The real story == <br />
Th_e legend[0] he(r)e expressed, has be.en un-/-veild by speciialized top-secret* research(es. [[It is not clear, hoWever, who is the actual lender of this excavations](apparently there seem:s to be multiple sources most of which tend's to volitalize when posed under scurutiny)]. <br />
Has reported from other sources[n-1] operating in N'ma area: stories on tchattuk refer to them always as stealing something from Katak.<br />
<br />
<br />
Ilinx is a game for An hyperstitional machinery which innermost-mechanisms generate randomic assemblages of verbal signifiers that can be researched and studied through their hyperstitional potential re-asserting the truths and dogmas of the common viro-virtual future.<br />
<br />
<br />
It acts as a temporal device defining the stratum through which temporal wormohles escavate its entangled rizhomes (simon drawings)<br />
it allows different multi-parallel cross-temporalities to meltdown in a continuum of cosmical land-space<br />
an 'ever-shifting process of abstracting shifting temporal-spatial qualities'<br />
A cosmic H-bomb A mass destruction K-weapon. <br />
<br />
simon's game as the idealization of multi-parallell temporalities <br />
<br />
TCHATTUK<br />
<br />
<br />
<br />
<br />
<br />
Ilinx is the Tchattuk <br />
<br />
'''Ilinx is the re-creational becoming of nonhuman deities.<br />
Never-perfect and ever-volatile game^play of time spiraling out of control.<br />
Self-referential gyration, rapid whirling or falling movement.posession in a state of dizziness and disorder.<br />
VIrtuo-viral infection that spreads contagiously and makes contagious the unpredictable {"very-Unlike closed loops"};<br />
Ilinx is the Loose ends terminal of the templex-interface.'''<br />
<br />
This theft triggers Katak's journey around the time-cycle. Tchattuk is she-who-steals and what-is-lost, wounding and making Katak what she is.<br />
--------------------------------------------------------------------<br />
Ilinx is the ultimate machinic time-device for evaluation and access.<br />
W:$$$$$$$$$$$$$$$$$$$$$$ Usefuk as tool !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!<br />
!!!!!!!!!!! Relevant to independent (dys.edu)cation =================<br />
=========== Hyper quality and less than lower price |||||||||||||||||<br />
|||||||||||||||| NOT ALREADY COMMON KNOWLEDGE 21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)[[User:Tancre|Tancre]] ([[User talk:Tancre|talk]])<br />
21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)[[User:Tancre|Tancre]] ([[User talk:Tancre|talk]]) Easily available on the WWWWWWWWWWWWWWWWWWWWWWWWW:$<br />
---------------------------------------------------------------------<br />
Many readers have puzzled over the meaning of Ilinx.<br />
What does it mean? <br />
Is a metaphor of god? <br />
Are we still alive? <br />
Actually, this is meant to tell you that we can't be sure of anything in the world that we call 'reality.'<br />
It is possible that we are all dead and in cold pac or that the half-life world can affect the full-life world. <br />
It is also possible that Ilinx is alive and dreaming.<br />
<br />
Indeed, linx is the spiral of time ...but which time?<br />
<br />
for humans > “Time is a human affliction; not a human invention but a prison” <br />
“Time is that which ends. Time is limited time experienced by a sentient creature. Sentient of time, that is – making adjustments to time in terms of what Korzybski calls neuro-muscular intention behaviour with respect to the environment as a whole ... A plant turns towards the sun, nocturnal animal stirs at sun set ... shit, piss, move, eat, fuck, die. Why does Control need humans? Control needs time. Control needs human time. Control needs yourshit piss pain orgasm death”</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx/Exercises_in_Ilinx_self-definition&diff=169639Ilinx/Exercises in Ilinx self-definition2020-04-19T15:20:26Z<p>Tancre: /* The real story */</p>
<hr />
<div>Ilinx or the pursuit of vertigo.<br />
<br />
emphasis upon masks and states of possession VS order / hierarchy / codification<br />
<br />
Nothing is more revealing than vertigo. That strange excitement taht is felt in cutting down the tall prairie and flowers <br />
<br />
The destinies of cultures can be read in their game. <br />
<br />
States <br />
<br />
== The story ==<br />
<br />
== The real story == <br />
Th_e legend[0] he(r)e expressed, has be.en un-/-veild by speciialized top-secret* research(es. [[It is not clear, hoWever, who is the actual lender of this excavations](apparently there seem:s to be multiple sources most of which tend's to volitalize when posed under scurutiny)]. <br />
Has reported from other sources[n-1] operating in N'ma area: stories on tchattuk refer to them always as stealing something from Katak.<br />
<br />
<br />
Ilinx is a game for An hyperstitional machinery which innermost-mechanisms generate randomic assemblages of verbal signifiers that can be researched and studied through their hyperstitional potential re-asserting the truths and dogmas of the common viro-virtual future.<br />
<br />
<br />
It acts as a temporal device defining the stratum through which temporal wormohles escavate its entangled rizhomes (simon drawings)<br />
it allows different multi-parallel cross-temporalities to meltdown in a continuum of cosmical land-space<br />
an 'ever-shifting process of abstracting shifting temporal-spatial qualities'<br />
A cosmic H-bomb A mass destruction K-weapon. <br />
<br />
simon's game as the idealization of multi-parallell temporalities <br />
<br />
TCHATTUK<br />
<br />
<br />
<br />
<br />
<br />
Ilinx is the Tchattuk <br />
<br />
'''<br />
Ilinx is the re-creational becoming of nonhuman deities.<br />
Never-perfect and ever-volatile game^play of time spiraling out of control.<br />
Self-referential gyration, rapid whirling or falling movement.posession in a state of dizziness and disorder.<br />
VIrtuo-viral infection that spreads contagiously and makes contagious the unpredictable {"very-Unlike closed loops"};<br />
Ilinx is the Loose ends terminal of the templex-interface.'''<br />
<br />
This theft triggers Katak's journey around the time-cycle. Tchattuk is she-who-steals and what-is-lost, wounding and making Katak what she is.<br />
--------------------------------------------------------------------<br />
Ilinx is the ultimate machinic time-device for evaluation and access.<br />
W:$$$$$$$$$$$$$$$$$$$$$$ Usefuk as tool !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!<br />
!!!!!!!!!!! Relevant to independent (dys.edu)cation =================<br />
=========== Hyper quality and less than lower price |||||||||||||||||<br />
|||||||||||||||| NOT ALREADY COMMON KNOWLEDGE 21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)[[User:Tancre|Tancre]] ([[User talk:Tancre|talk]])<br />
21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)21:44, 14 April 2020 (CEST)[[User:Tancre|Tancre]] ([[User talk:Tancre|talk]]) Easily available on the WWWWWWWWWWWWWWWWWWWWWWWWW:$<br />
---------------------------------------------------------------------<br />
Many readers have puzzled over the meaning of Ilinx.<br />
What does it mean? <br />
Is a metaphor of god? <br />
Are we still alive? <br />
Actually, this is meant to tell you that we can't be sure of anything in the world that we call 'reality.'<br />
It is possible that we are all dead and in cold pac or that the half-life world can affect the full-life world. <br />
It is also possible that Ilinx is alive and dreaming.<br />
<br />
Indeed, linx is the spiral of time ...but which time?<br />
<br />
for humans > “Time is a human affliction; not a human invention but a prison” <br />
“Time is that which ends. Time is limited time experienced by a sentient creature. Sentient of time, that is – making adjustments to time in terms of what Korzybski calls neuro-muscular intention behaviour with respect to the environment as a whole ... A plant turns towards the sun, nocturnal animal stirs at sun set ... shit, piss, move, eat, fuck, die. Why does Control need humans? Control needs time. Control needs human time. Control needs yourshit piss pain orgasm death”</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/22-04-2020_-Event_2&diff=169638Calendars:Networked Media Calendar/Networked Media Calendar/22-04-2020 -Event 22020-04-19T15:18:57Z<p>Tancre: </p>
<hr />
<div>XPUB2 Aymeric grad project supervision<br />
<br />
* 10:00 - Paloma<br />
* 11:00 - Simon [[User:Simon/pre and post lockdown overview| Overview of the project, pre- and post- lockdown]]<br />
* 12:00 - Tancredi [[Ilinx]]</div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Khmer_numerals.png&diff=169415File:Khmer numerals.png2020-04-19T00:22:34Z<p>Tancre: </p>
<hr />
<div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169409Ilinx2020-04-18T19:04:53Z<p>Tancre: /* During the pandemics */</p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I broke my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install different OS unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact signed the total vertigo slowly banishing (me), the thief-author from the ownership of my own work . Here comes the > spiral <br />
In that period I started to read the texts of the CCRU. I was already aware of the converging forces linking my practice and my theories to their weird work. To mention some, my early passion for Kode9 and the uk-bass dubstep scene, Matthew Fuller who was 'one fo them', the discourse on theory/fiction/reality and more theoretical subjects I'm exploring and which the CCRU seems to mirror in their odd visions from the past.<br />
<br />
> ccru<br />
<br />
> hyperstition<br />
<br />
> spiral<br />
<br />
> pataphisics<br />
<br />
> cults - secret societies - mysterous mythological islands<br />
<br />
> the vision of lemuria - mu - thule - hyperborea<br />
<br />
> ilinx<br />
<br />
> disturbing dreams <br />
<br />
> jumanji effect<br />
<br />
> what ilinx really is<br />
<br />
== Actual situation ==<br />
* designing the starting point/facade of the world of ilinx/landing page (see main/variations/index.html) and populate it.<br />
* writing different texts [as this text itself] as:<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
* working with Andre to host Ilinx linking my home-server to the (xp)hub >> hub.xpub.nl/ilinx<br />
* defining a methodology for the audio (my friend is already working based on the details I passed her)<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
== Collecting References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169408Ilinx2020-04-18T19:01:20Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install debian unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact signed the total vertigo slowly banishing (me), the thief-author from the ownership of my own work . Here comes the > spiral <br />
In that period I started to read the texts of the CCRU. I was already aware of the converging forces linking my practice and my theories to their weird work. To mention some, my early passion for Kode9 and the uk-bass dubstep scene, Matthew Fuller who was 'one fo them', the discourse on theory/fiction/reality and more theoretical subjects I'm exploring and which the CCRU seems to mirror in their odd visions from the past.<br />
<br />
> ccru<br />
<br />
> hyperstition<br />
<br />
> spiral<br />
<br />
> pataphisics<br />
<br />
> cults - secret societies - mysterous mythological islands<br />
<br />
> the vision of lemuria - mu - thule - hyperborea<br />
<br />
> ilinx<br />
<br />
> jumanji effect <br />
<br />
> dreams <br />
<br />
> what ilinx really is<br />
<br />
== Actual situation ==<br />
* designing the starting point/facade of the world of ilinx/landing page (see main/variations/index.html) and populate it.<br />
* writing different texts [as this text itself] as:<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
* working with Andre to host Ilinx linking my home-server to the (xp)hub >> hub.xpub.nl/ilinx<br />
* defining a methodology for the audio (my friend is already working based on the details I passed her)<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
== Collecting References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169407Ilinx2020-04-18T18:43:16Z<p>Tancre: /* During the pandemics */</p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install debian unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact signed the total vertigo slowly banishing (me), the thief-author from the ownership of my own work . Here comes the > spiral <br />
In that period I started to read the texts of the CCRU. I was already aware of the converging forces linking my practice and my theories to their weird work. To mention some, my early passion for Kode9 and the uk-bass dubstep scene, Matthew Fuller who was 'one fo them', the discourse on theory/fiction/reality and more theoretical subjects I'm exploring and which the CCRU seems to mirror in their odd visions from the past.<br />
<br />
> ccru<br />
> hyperstition<br />
> spiral<br />
> pataphisics<br />
> cults - secret societies - mysterous mythological islands<br />
> the vision of lemuria - mu - thule - hyperborea<br />
<br />
> ilinx<br />
> jumanji effect <br />
> dreams <br />
> what ilinx really is<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169406Ilinx2020-04-18T18:27:21Z<p>Tancre: </p>
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<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature, a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, symbiontically fuse togheter intertwined through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install debian unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact must be pointed out. Here comes the > spiral <br />
I also started to read the texts of<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169405Ilinx2020-04-18T18:24:49Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:130px;"><br />
<br />
<div style="margin-top:-900px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install debian unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine<br />
<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;- Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact must be pointed out. Here comes the > spiral <br />
I also started to read the texts of<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169404Ilinx2020-04-18T18:20:18Z<p>Tancre: /* During the pandemics */</p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:200px;"><br />
<br />
<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. However, I've been lucky. My computer works better now, and I had the opportunity to go deeper in my understanding of software. From that 'no bootable device' so frustrating, to fighting with the BIOS, breacking into the hardware, buying the wrong HDD, various failed partitionings, trying to install debian unsuccesfully ecc...<br />
<br />
When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine &#10;+ &#10;"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact must be pointed out. Here comes the > spiral <br />
I also started to read the texts of<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169403Ilinx2020-04-18T18:13:20Z<p>Tancre: /* Before the virus */</p>
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<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
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Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
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== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out to design the best main narrative that could work as mainframe interconnecting all the small projects and texts I produced and encountered. In the meanwhile, I was trying to figure out how to design the landing page of this project. All I know was that it would have take the form of a sort of map of elements interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
In the 2 weeks before the pandemics started, I was mostly focusing on finishing the thesis, already in a self-imposed quarantine.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine &#10;+ &#10;"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;Giorgio Colli, the birth of philosophy (1975)<br />
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It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
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In parallel to the ressurrection of Ilinx, another relevant fact must be pointed out. Here comes the > spiral <br />
I also started to read the texts of <br />
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== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169402Ilinx2020-04-18T18:09:53Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:200px;"><br />
<br />
<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out a main narrative that could work for as mainframe interconnecting the small projects. In the meanwhile, I was trying to figure out how to design the landing page of this project as a sort of map of elements (the small projects) interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." &#10;- mine &#10;+ &#10;"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." &#10;Giorgio Colli, the birth of philosophy (1975)<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
(It is not a pure coincidence - that the Glass Bead Game is profoundly related to my project, even though I barely know its obscure context, and that the 'language maze' is the Wittgenstenian 'linguistic game', or 'form of life', reborn under the hypnotizing gyration of Ilinx)<br />
It is not a pure coincidence...<br />
<br />
Only later I recognized, that Ilinx was imposing itself as the only possible name for this project. The understanding of game (and play) as Ilinx cames out to be the key to piece togheter my projects and thoughts under the mask of a mind reaching the borders of its symbolic consciousness and spinning into the whirlpool of intuition and creativity. But understood as a mere facade of the actual source: fiction, de-con-struction and altered state of mind.<br />
Why do I need to use the same narrative, why can't I jump suddenly from one point/project/text to another and follow this jump shifting reality, bending it to the power of fiction and beyond, into the deep sea of never ending possibility and disrupted/unfinished/missed narratives. The FINAL foundational framework. Ilinx. <br />
<br />
In parallel to the ressurrection of Ilinx, another relevant fact must be pointed out. Here comes the > spiral <br />
I also started to read the texts of <br />
<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169401Ilinx2020-04-18T17:33:50Z<p>Tancre: /* During the pandemics */</p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:200px;"><br />
<br />
<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out a main narrative that could work for as mainframe interconnecting the small projects. In the meanwhile, I was trying to figure out how to design the landing page of this project as a sort of map of elements (the small projects) interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication ,called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..), because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've encountered the illuminating term. >> Ilinx<br />
Intrigued by its definition I searched the source > Roger Caillois < and then all the pieces started to come at their place.<br />
Ilinx, the pursuit of vertigo.<br />
<br />
My project is strictly related to my thesis, in particular to the very conclusion where the concept of 'language maze' attempts to reconstruct my effort in exploring self-consciousness. <br />
<br />
"Perhaps, the link between the human and the machinic consists of the maze created by their intertwining layers of languages. [2] A "language maze" made of verbal and non-verbal languages, natural languages and formal languages, computer's code and machine languages. A Deadalus' labyrinth of material, informational, algorithmic and literary explorable spaces developing in the horizontal and the vertical direction, from microscopic to macroscopic territories, internal external and internal spheres. A Penelope's web made of rooms that, as Escherian paintings, hides recursive simulations and emulations of other rooms, other mazes and itself. Perhaps, what distinguishes the human from the machinic, is the feeling, illusory or real, of being whole with the "language maze" as an infinite space (logos) where to build new worlds from scratch." - mine<br />
+<br />
"The Labyrinth is presented, then, as a human creation, a creation of the artist and of the inventor, of the man of knowledge, of the Apollonian individual, yet in the service of Dionysus the animal-god." Giorgio Colli - the birth of philosophy <br />
<br />
<br />
It is not a pure coincidence - that one of the main sources of my approach follow the prolific path of the so called "Limit-experience" explored by that group of "mens of knowledge" whose main figure is George Bataille. The limit of language, transgression. <br />
It is not a pure coincidence - Caillois worked with Bataille, they funded togheter the 'College of sociology' and he published in Bataille's publication/cult that is 'Acéphale' and which logotype is the meander of a labyrinth. <br />
It is not a pure coincidence - that Giorgio Colli , the main philosopher exploring and translating Nietsche works in Italy, can be claimed to be an independent figure of that same intellectual movement, 'Limit experience', that is also called 'Nietzsche renaissance'. Pushing the understanding of philosophy and knowledge beyond the apollinean rupture caused by Socrates and Plato in the dyonisiac society, its work traces back the origin of philosophy into the Daedalus' labyrinth and the mystery contained in our own rationality.<br />
It is not a pure coincidence...<br />
<br />
Indeed the fact that I chosed Ilinx as name for this project is not a coincidence. But the only possible necessity.<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169398Ilinx2020-04-18T16:22:47Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:200px;"><br />
<br />
<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out a main narrative that could work for as mainframe interconnecting the small projects. In the meanwhile, I was trying to figure out how to design the landing page of this project as a sort of map of elements (the small projects) interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..) because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've <br />
<br />
of this guy that I've met that was studying at Goldwmith)<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169397Ilinx2020-04-18T16:22:27Z<p>Tancre: </p>
<hr />
<div><div style=' background-color: rgb(0, 0, 0); color: white; height: 4000px; margin-top:-200px; margin-left: -220px; padding-left: 15px; font-weight: bold; margin-right: -24px'; position: absolute; z-index:101;><br><br><br><br><br><br><br />
<br />
<div style="margin-top:900px;margin-left: 200px; margin-right:200px;"><br />
<br />
<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out a main narrative that could work for as mainframe interconnecting the small projects. In the meanwhile, I was trying to figure out how to design the landing page of this project as a sort of map of elements (the small projects) interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..) because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've <br />
<br />
of this guy that I've met that was studying at Goldwmith)<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancrehttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ilinx&diff=169396Ilinx2020-04-18T16:22:09Z<p>Tancre: </p>
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<div style="margin-top:-900px; margin-left:100px; text-align: center; font-size:300px;">ILINX</div><br><br><br><br><br><br><br><br><br><br />
[[File:Ilinx_logos.png | thumb | 400px]]<br />
<br />
Ilinx is an hypertextual browser-based explorable space. Its matrix consists in a patchwork of electronic literature symbiontically (co)existing in a continuum where different projects and texts on the relation between language and representation, reality and fiction, humans and computers, are intertwined <br />
through the lens of subjective experience (or phenomenal consciousness). Beyond the surface, Ilinx is a quest to develop a platform connecting the paths of my personal epistemological and existential research. Its result, at this point in time, consists in a conception of software as an out-of-hardware experience, projecting the self into an hyperstitional spazio-temporal oecumene where new worlds can be designed and inhabited augmenting self-consciousness and affecting reality. <br />
<br />
=Ilinx=<br />
"[Ilinx is [a game]] based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind. In all cases, it is a question of surrendering to a kind of spasm, seizure, or shock which destroys reality with sovereign brusqueness." &#10;- Roger Caillois, 'Man, Play and Games' (1958)<br />
[[ilinx/Exercises_in_Ilinx_self-definition | <p style="color: lawngreen; font-size: 25px; ">Exercises in Ilinx self-definition</p>]]<br />
<br />
<br />
== Before the virus ==<br />
I was working on several small projects and making a lot of notes of different texts trying to figure out a main narrative that could work for as mainframe interconnecting the small projects. In the meanwhile, I was trying to figure out how to design the landing page of this project as a sort of map of elements (the small projects) interconnected in some complex way. I also contancted a friend of mine studying at Sonology (den haag) to design the music but I didn't have anything concrete yet.<br />
<br />
== During the pandemics ==<br />
I brake my HDD but I managed to retrieve the files I was working on (or most of them I guess). I had to buy a new one and I've installed ubuntu. All this, unfortunately took me a week. When everything was again set up and working I migrated all the contents on the [https://git.xpub.nl/Tancre/ilinx git] (I had my last tutorial with Michael at that time) and reorganized them under two main categories:<br />
* code-based > exploration on coding / mechanisms of the browser / exploration in machinic life (Cybernetics/AI/Alife)<br />
* texts-based > exploration of texts / augmenting texts through code / create narratives / design explorable space through texts<br />
This projects are in a "middle" phase. They are conceptually finished but they still need to be reorganized/improved/linked to the main narrative. <br />
<br />
Few days later, I was reading [this text], apparently disconnected to my work and project. It is interesting that I've found this publication called Glass Bead (which gathers texts of philosophers, artist, scientists ecc..) because it is organized by a guy who I've met last year, a friend of Adi (some week before I had the bad news) that was doing its Phd at the Goldsmith in Cultural Studies (where also Matthew Fuller was teaching). Previously unaware of the meaning of Glass Bead, then I figured out it was about a fictional game described by Herman Hesse in its last book. Between the pages of that text, approaching the end, I've <br />
<br />
of this guy that I've met that was studying at Goldwmith)<br />
<br />
== Actual situation ==<br />
<br />
== Next steps ==<br />
<br />
<br />
== Structure ==<br />
The projects and texts that will become the nodes of ilinx's ''language maze'', expands beyond the browser into the layers of code (HTML, CSS, JS), and are interwoven through quasi-consistent pieces of narrative, fragments of different stories spanning between history and myth, theory and fiction, fantasy and science-fiction, following the definition of ''ilinx'' developed by Roger Callois.<br />
<br />
'<br />
<br />
== Language Maze ==<br />
ȶɦɛ ƈօռƈɛքȶ օʄ ʟǟռɢʊǟɢɛ ʍǟʐɛ ɖɛʋɛʟօքɛɖ ɨռ ʍʏ ȶɦɛֆɨֆ, ǟռɖ ʀɛʄɛʀʀɨռɢ ȶօ ɢɨօʀɢɨօ ƈօʟʟɨ ʀɛֆɛǟʀƈɦ օռ ȶɦɛ օʀɨɢɨռ օʄ քɦɨʟօֆօքɦʏ ɨռ ȶɦɛ ʍʏȶɦ օʄ ȶɦɛ ʟǟɮʏʀɨռȶɦ, ɮɛƈօʍɛֆ ȶɦɛ ʄʊռɖǟʍɛռȶǟʟ ֆȶʀʊƈȶʊʀɛ ǟռɖ ɨȶֆ ʀɛʟǟȶɨօռ ȶօ ȶɦɛ ʊֆɛʀֆ ɛӼքʟօʀɨռɢ ɨʟɨռӼ, ɨȶֆ ȶɦɛօʀɛȶɨƈǟʟ ƈօռƈʟʊֆɨօռ.<br />
<br />
" ǟ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ʍǟɖɛ օʄ ʋɛʀɮǟʟ ǟռɖ ռօռ-ʋɛʀɮǟʟ ʟǟռɢʊǟɢɛֆ, ռǟȶʊʀǟʟ ʟǟռɢʊǟɢɛֆ ǟռɖ ʄօʀʍǟʟ ʟǟռɢʊǟɢɛֆ, ƈօʍքʊȶɛʀ'ֆ ƈօɖɛ ǟռɖ ʍǟƈɦɨռɛ ʟǟռɢʊǟɢɛֆ. ǟ ɖɛǟɖǟʟʊֆ' ʟǟɮʏʀɨռȶɦ օʄ ʍǟȶɛʀɨǟʟ, ɨռʄօʀʍǟȶɨօռǟʟ, ǟʟɢօʀɨȶɦʍɨƈ ǟռɖ ʟɨȶɛʀǟʀʏ ɛӼքʟօʀǟɮʟɛ ֆքǟƈɛֆ ɖɛʋɛʟօքɨռɢ ɨռ ȶɦɛ ɦօʀɨʐօռȶǟʟ ǟռɖ ȶɦɛ ʋɛʀȶɨƈǟʟ ɖɨʀɛƈȶɨօռ, ʄʀօʍ ʍɨƈʀօֆƈօքɨƈ ȶօ ʍǟƈʀօֆƈօքɨƈ ȶɛʀʀɨȶօʀɨɛֆ, ɨռȶɛʀռǟʟ ɛӼȶɛʀռǟʟ ǟռɖ ɨռȶɛʀռǟʟ ֆքɦɛʀɛֆ. ǟ քɛռɛʟօքɛ'ֆ աɛɮ ʍǟɖɛ օʄ ʀօօʍֆ ȶɦǟȶ, ǟֆ ɛֆƈɦɛʀɨǟռ քǟɨռȶɨռɢֆ, ɦɨɖɛֆ ʀɛƈʊʀֆɨʋɛ ֆɨʍʊʟǟȶɨօռֆ ǟռɖ ɛʍʊʟǟȶɨօռֆ օʄ օȶɦɛʀ ʀօօʍֆ, օȶɦɛʀ ʍǟʐɛֆ ǟռɖ ɨȶֆɛʟʄ. քɛʀɦǟքֆ, աɦǟȶ ɖɨֆȶɨռɢʊɨֆɦɛֆ ȶɦɛ ɦʊʍǟռ ʄʀօʍ ȶɦɛ ʍǟƈɦɨռɨƈ, ɨֆ ȶɦɛ ʄɛɛʟɨռɢ, ɨʟʟʊֆօʀʏ օʀ ʀɛǟʟ, օʄ ɮɛɨռɢ աɦօʟɛ աɨȶɦ ȶɦɛ "ʟǟռɢʊǟɢɛ ʍǟʐɛ" ǟֆ ǟռ ɨռʄɨռɨȶɛ ֆքǟƈɛ (ʟօɢօֆ) աɦɛʀɛ ȶօ ɮʊɨʟɖ ռɛա աօʀʟɖֆ ʄʀօʍ ֆƈʀǟȶƈɦ." - օʊȶɨֆ<br />
<br />
"ȶɦɛ ʟǟɮʏʀɨռȶɦ ɨֆ քʀɛֆɛռȶɛɖ, ȶɦɛռ, ǟֆ ǟ ɦʊʍǟռ ƈʀɛǟȶɨօռ, ǟ ƈʀɛǟȶɨօռ օʄ ȶɦɛ ǟʀȶɨֆȶ ǟռɖ օʄ ȶɦɛ ɨռʋɛռȶօʀ, օʄ ȶɦɛ ʍǟռ օʄ ӄռօաʟɛɖɢɛ, օʄ ȶɦɛ ǟքօʟʟօռɨǟռ ɨռɖɨʋɨɖʊǟʟ, ʏɛȶ ɨռ ȶɦɛ ֆɛʀʋɨƈɛ օʄ ɖɨօռʏֆʊֆ ȶɦɛ ǟռɨʍǟʟ-ɢօɖ." - ɢɨօʀɢɨօ ƈօʟʟɨ, 'ȶɦɛ ɮɨʀȶɦ օʄ քɦɨʟօֆօքɦʏ' (1975)<br />
<br />
== Islands ==<br />
* Lemuria<br />
* Thule<br />
* Mu<br />
* Hyperborea<br />
<br />
== Hystory ==<br />
<br />
== References ==<br />
<br />
* Myst<br />
* Colossal Cave Adventure / Zorg <br />
* Rouge-like games<br />
* <br />
<br />
* ELIZA<br />
* Clippy<br />
<br />
<br />
--------------<br />
<br />
&#169; N̴̘͋̓͘a̴̞͓̎́̒͆͌͗̑̓͒͠ṯ̵̣̺̫͈̲̗̲̃̈́͋͐͌̆̑̾̂û̷̢̬͈͈̰͗̓̀̈́͋͝ṙ̵̟̫͔͈̈́͗͛͘̕a̶̗̭̫̥̝͈̗̹̿̏̏̏͆̀͝͠ļ̴̛̹̘̲̠͍͚̰̀́̑̓̒̇̌̌ͅ-̴̺̫̤͙̹͔̅͛̔̂͆͆͠ͅB̸̖̖͙̳̝̬̒́̅̓̊̉͝ͅo̷̥̤̻͕̘̹̞̍r̷͔̤͕̮̰̓̓̃͒͌͘͘̚͝ͅn̶̢͋̀̀͝ ̸̼̬͆̋͋͂̀͑͘̚͝Í̸̯̼̌͑̏n̸̡̞̮̩̥̣̙̼̗̿f̸̘̺̝̪̼̥͙̩̟͝ȩ̴̨̝͖͖̏͋ç̴̨͕̰͔̥̲͎̺̦͆̽̓̃̐̓͝ṱ̵̛̩͓͕̦̮̈́̍̏̒̓̉͗̚͘ͅe̵̬̒̑̂̋̾̾̑̇̕͠d̴̨̘̼̣͊͌͛͌̂͗͝͠͝<br />
</div><br />
</div></div>Tancre