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| <p style="color:#FFFF00; font-size: 45pt; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1"> | | <p style="color:#FFFF00; font-size: 52pt; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">'''o h j i a n'''</p> |
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| '''o h j i a n'''
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| =<p style="color:#FFB6C1; text-shadow: 2px 2px 4px #0000FF, 2px 2px 4px #0000FF">INDEX</p>=
| | <p style="color:#FFFF00; font-size: 45pt; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1"> |
| | | [[User:Ohjian/Final_presentation|Grad Project]]<br> |
| * oh
| | [[User:Ohjian/Project-Proposal|Project Proposal]]<br> |
| * hi
| | [[User:Ohjian/Thesis-Outline|Thesis Outline]]<br><br> |
| * [[hello]]
| | [[User:Ohjian/XPUB_1|YEAR 1]]<br> |
| | | [[User:Ohjian/XPUB_2|BRIDGE]] |
| =<p style="color:#FFB6C1; text-shadow: 2px 2px 4px #0000FF, 2px 2px 4px #0000FF">Special Issue #16</p>=
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Getting Started</p>==
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Readings</p>==
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| * "Situated Knowledges", Donna Haraway
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| * "Orientation in a big world", Patricia Reed
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| * "Vernacular Order, Official Order / Vernacular and Official Ways of 'Knowing'", James C. Scott
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">References</p>==
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| * "A Rose is a Rose is a rose", Gertrude Stein
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| * Oulipu
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| * George perec
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| * "Sprache und sein", Kübra Gümüşay
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| * "Dictionary of Winds", Ivetta Gerasimchuk
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| * "This Variation", Tino Sehgal
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| * Clusterduck
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| * "Anekdoten zu einer Topographie des Zufalls", Daniel Spoerri
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Words of interest</p>==
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| * Archive
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| * Artifact
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| * Atlas
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| * Book
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| * Collective
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| * Context
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| * Darkness
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| * Destination
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| * Dimension
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| * Direction
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| * Echoe
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| * Encyclopedia
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| * Ephemer
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| * Gesture
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| * Ghost
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| * Index
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| * Interrelations
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| * Language
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| * Lexikon
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| * Local
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| * Lacolization
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| * Map
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| * Memory
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| * Miscelenious
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| * Mobility
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| * Movement
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| * Multiverse
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| * Multilayers
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| * Navigation
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| * Navigator
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| * Orientation
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| * Question Mark
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| * Record
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| * Rejection
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| * Relation
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| * Relic
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| * Selection
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| * Space
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| * Territory
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| * Time
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| * Toolkit
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| * Topography
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| * Trace
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| * Unknown
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| * Weaving
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| * Vernacular
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| ==<p style="color:# d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Notes</p>== | |
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| ===Readings for Prototyping class===
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| [[Prototyping/2021-2022/T1|Wiki Page Prototyping Class SI 16]]
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| ====Exploratory Programming for the Arts and Humanities by Nick Montfort====
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| =====[ 4 ] Calculating and Using Jupiter Notebook=====
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| ''calculator (to calculate) / computer (to compute) / ordinateur (French, to order, to organize)''
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| Python is a programming language
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| Jupiter Notebook is an interpreter of Python
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| Syntax vs. Semantics in programming languages like Python or Processing:
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| * If the Syntax is correct, the code is formally correct, it is valid.
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| * If the code does what it is supposed to do, it is intentional.
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| * Intentional programs are always valid.
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| * Valid programs are not always intentional.
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| Syntax and Semantics in HTML (Hypertext Markup Language):
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| * HTML is not a programming language
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| * JavaScript is a program
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| * HMTL does not encode instructions
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| * Web Browser are forgiving and will also render invalid pages whenever possible. Just because a page is looks intentional in a web browser it doesn't mean it's valid code. So maybe other or future web browsers will struggle to show the intended page. Use Validators like validator.w3c.org to make sure your code is valid.
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| ! Dont ever replace the content of a a cell in Python once it has successfully run, even if the outcome is not intentional. Instead copy to a new cell to change the content !
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| =====[ 5 ] Double, Double=====
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| Indentation is important! Use 4 spaces instead of a tab!
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| * Function: a bundle of computation 7 it must be provided exactly one argument / a function accepts arguments as well as returns values
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| * Interface: Schnittstelle / the specific way in which a function accepts an argument and returns values defines the interface to a function
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| * Argument: Ausgangswert? / Information that is passed into a function / The arguments to the function hold the values that the function needs to do its work. It sends back the answer aas return value
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| * Value: Ergebnis / Result that is returned by the function
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| * Sequence: data that is given as an argument
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| * Element: a sequence can have several elements, a list [element, element, element]
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| =====[ 6 ] Programming Fundamentals=====
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| Types of Abstraction:
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| * iteration = generalize a computation over a sequence / looping / allows repeated computation
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| * polymorphism = a code that applies to data of different types
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| there are different types of data, for example:
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| * integral numbers = int
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| * strings of characters = str
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| * lists of integers = int
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| * Boolean value = True/False
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| some functions or operator only work with certain types of data, other are polymorph and work with different types of data
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| types of data can be converted = casting
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| inner and outer universe / scope: variable have a certain value in a function, but outside of the function the same variable can have a different value
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| ===Reflection moment===
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| ''I was re-reading what we have to prepare for Christinas class and realized I misunderstood it the first time. I guess we are not supposed to bring even more new texts/material to elaborate, but rather bring examples of processing methods. So as far as I understand we should focus on different ways to approach a text or material, how to process/play/manipulate/work with it … ''
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| ''I think I will try to come up with maybe 3 different processing methods and use any text or material (old or new) to exemplify these methods. A method could be a complex annotation system but also a super simple and playful manipulation (i.e. get rid of all the punctuation in a text and see what happens).''
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| ''What do you think? Should we just play around with this and then present our favorites in class?''
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| ===Template for group meetings===
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| //// XPUB 1 –– SPECIAL ISSUE 16 //// XPUB 1 –– SPECIAL ISSUE 16 ////<br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| Date: DD/MM/YYYY<br>
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| Time: 00:00 – 00:00<br>
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| Participants: <br>
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| <br>
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| Guardian of the Clock: <br>
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| Guardian of the Pad: <br>
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| <br>
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| <br>
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| Schedule for today´s meeting:<br>
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| 00:00-00:00 Opening<br>
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| 00:00-00:00 Part 1<br>
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| 00:00-00:00 Check-in round<br>
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| 00:00-00:00 Break <br>
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| 00:00-00:00 Part 2<br>
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| 00:00-00:00 Check-in round<br>
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| 00:00-00:00 Closing<br>
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| <br>
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| Link to pad from previous group meeting:<br>
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| <br>
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| Possible topics for today (paste from previous pad):<br>
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| –<br>
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| <br>
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| Topics for today´s meeting:<br>
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| 1. Topic A<br>
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| 2. Topic B<br>
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| 3.<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| //// XPUB 1 –– SPECIAL ISSUE 16 //// XPUB 1 –– SPECIAL ISSUE 16 ////<br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| OPENING<br>
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| <br>
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| References / Examples:<br>
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| –<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| PART 1<br>
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| <br>
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| 1. Topic A<br>
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| – <br>
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| <br>
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| 2. Topic B<br>
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| – <br>
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| <br>
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| 3. Topic C<br>
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| – <br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| CHECK-IN ROUND<br>
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| <br>
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| One by one:<br>
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| Do you want to ask / say / add / comment on something?<br>
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| Try to limit your speaking time and try to be precise!<br>
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| No interruptions please!<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| BREAK<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| PART 2<br>
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| <br>
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| 4. Topic D<br>
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| –<br>
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| <br>
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| 5. Topic E<br>
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| – <br>
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| <br>
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| 6. Topic F<br>
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| –<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| CHECK-IN ROUND<br>
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| <br>
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| One by one:<br>
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| Do you want to ask / say / add / comment on something?<br>
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| Try to limit your speaking time and try to be precise!<br>
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| No interruptions please!<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| <br>
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| CLOSING<br>
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| <br>
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| ––> Summary of the meeting by the Guardian of the Pad<br>
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| <br>
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| List of topics to discuss in the next meeting:<br>
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| –<br>
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| <br>
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| Homework / to do:<br>
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| –<br>
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| <br>
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| Schedule next meeting:<br>
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| Date: <br>
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| Time: <br>
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| <br>
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| Guardian of the Pad next time:<br>
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| <br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| //// XPUB 1 –– SPECIAL ISSUE 16 //// XPUB 1 –– SPECIAL ISSUE 16 ////<br>
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| /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////<br>
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| ===Confused Notes===
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| ''As a creative tool / process / rejection toolkit ~ Rejection = Ablehnung, Zurückweisung, Abstoßung, Abweisung, Abwehr, Aussortierung, aber auch Verwerfen ~ ignorieren, vergessen, verwerfen ~ generieren (produzieren), verwerfen (entscheiden) / entwerfen/verwerfen ~ Summerschool! also: Rejection as a collektive process? ~ Chronisten vs. Anemophile: Entwürfe aufbewahren oder verwerfen? ~ Talmud: keine Umschreibung, Überschreibung, Neuschreibung ~ Deutungen/ Ideen / Entwürfe bleiben parallel bestehen: multiperspektivisch (situated knowledge?) ~ to define the book limits the book ~ collect or select ~ curation: change context by selecting (and rejecting) certain things ~ responsibility ~ unpublished! ~ rejection as choice ~ definition generator just as book? ~ or: (because its easier I think): definition of curating, including rejection ~ rejection process changes vernacular language into formal language? ~ bleed ~ annotations / references / pagina ~ artifacts ~ stream of consciousness (in words or images) ~ our conscience can only focus on one thing and rejects the others? ~ selection by choice, by data, by association ~ Found items ~ Rejected items ~ Leaving a trace ~ Rejection toolkit ~ Topographie des Zufalls ~ Kill your darlings ~ Souvenirs of thinking processes ~ Remnants of the process ~ Embracing the unpublished / rejected ~ Extract ~ mapping / delineate ~ lost traces / ephemere ~ relic ~ ghost ~ echoes, memories ~ record, permanent form ~ vernacular memories ~ collective memories ~ Delinetae the unknown ~ Delineate the ephemeral ~ Delineate situated knowledges / language / action / memories ~ Delineating the situated ~ Delineate the vernacular ~ miscelenious ~ Connotation / context / curating ~ Rejection as categorization (libraries, archives) ~ … in Rejection ~ Topography of the Book ~ Delineating the Book ~ Rejection as Delineation ~ Rejection as tool, responsibility, curating ~ Experiment: have one collection of items and let at least two individuals select, organize, contextualize, curate them (also by adding new things?)''
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Experiments</p>==
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| ===A small Lexikon on Terms of Interest Whip===
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| Whip of a small lexikon after reading:
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| * "Situated Knowledges", Donna Haraway
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| * "Orientation in a big world", Patricia Reed
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| * "Vernacular Order, Official Order / Vernacular and Official Ways of 'Knowing'", James C. Scott
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| Terms to add:
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| * ''destination''
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| * ''dimension''
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| * ''direction''
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| * ''interrelations''
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| * ''localization''
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| * ''map''
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| * ''mobility''
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| * ''movement''
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| * ''territory''
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| * ''time''
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| … more [[User:Ohjian#Words_of_interest|Words of Interest]]
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| =====BOOK=====
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| A book has neither object nor subject; it is made of variously formed matters, and very different dates and speeds. To attribute the book to a subject is to overlook this working of matters, and the exteriority of their ''relations''. It is to fabricate a beneficent God to explain geological ''movements''. In a book, as in all things, there are lines of articulation or segmentarity, strata and ''territories''; but also lines of flight, ''movements'' of deterritorialization and destratification.
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| <br>A BOOK | |
| <br>IS THE PHYSICAL SUPPORT OF TEXT
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| <br> USING A RECOMBINANT STRUCTURE
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| <br> TO PROVIDE SEQUENTIAL
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| <br> [[User:Ohjian#NAVIGATION|NAVIGATION]]
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|
<br>
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| <br>A BOOK
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| <br>IS AN ARCHIVE
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| <br> USING WORDS
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| <br> TO PROVIDE ISOLATED
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| <br> KNOWLEDGE | |
| <br>
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| <br>A BOOK
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| <br>IS A PORTABLE DATA STORAGE
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| <br> USING NODES AND LINKS
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| <br> TO PROVIDE PERFORMATIVE
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| <br> TRUTH
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| <br>
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| <br>A BOOK
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| <br>IS A SEQUENCE OF MOMENTS
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| <br> USING NODES AND LINKS
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| <br> TO PROVIDE PERFORMATIVE
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| <br> MEANING
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| <br>
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| <br>A BOOK
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| <br>IS A SEQUENCE OF MOMENTS
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| <br> USING LAYERS
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| <br> TO PROVIDE CERTAIN
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| <br> [[User:Ohjian#NAVIGATION|NAVIGATION]]
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| <br>
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| <br>A BOOK
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| <br>IS AN INTIMATE SPACE
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| <br> USING JUXTAPOSITIONS
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| <br> TO PROVIDE RANDOM
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| <br> INFORMATION
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| <br>
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| <br>A BOOK
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| <br>IS AN ARTIFACT
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| <br> USING A SYSTEM OF KNOTTED STRINGS
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| <br> TO PROVIDE NAVIGATIONAL
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| <br> NEGOTIATION
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| <br>
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| <br>A BOOK
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| <br>IS AN INTIMATE SPACE
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| <br> USING A RECOMBINANT STRUCTURE
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| <br> TO PROVIDE PRECISE
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| <br> THOUGHTS
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|
<br>
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| <br>A BOOK
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| <br>IS AN EVENT
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| <br> USING NODES AND LINKS
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| <br> TO PROVIDE SEQUENTIAL
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| <br> ACCESS
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|
<br>
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| <br>A BOOK
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| <br>IS AN INTERFACE
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| <br> USING ANY NUMBERS OF PHYSICAL FORMS
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| <br> TO PROVIDE ISOLATED
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| <br> KNOWLEDGE
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|
<br>
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| <br>A BOOK
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| <br>IS A SEQUENCE OF ROOMS
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| <br> USING INTERCONNECTIONS
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| <br> TO PROVIDE CERTAIN
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| <br> NEGOTIATION
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| <br>
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| <br>A BOOK
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| <br>IS AN OBJECT
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| <br> USING LAYERS
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| <br> TO PROVIDE SPECIFIC
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| <br> KNOWLEDGE
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| <br>
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| <br>A BOOK
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| <br>IS A SEQUENCE OF MOMENTS
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| <br> USING A SYSTEM OF KNOTTED STRINGS
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| <br> TO PROVIDE SPECIFIC
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| <br> MEANING
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| <br>
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| =====DARKNESS=====
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| https://whitehotmagazine.com//UserFiles/image/2012/dOCUMENTA/04_Tino-Sehgal.jpg
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| Tino Sehgal – This Variation<br>
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| First performed in 2012 at Documenta 13 in Kassel
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| <br>
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| How do you [[User:Ohjian#NAVIGATION|navigate]] in a [[User:Ohjian#DARKNESS|dark]] [[User:Ohjian#SPACE|space]]? Listen. Smell. Touch.
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| <br> | |
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| =====NAVIGATION=====
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| is not ''destination'', but it is not entirely divorced from ''destination'' either. It’s a ''movement'' of inclination requiring markers of [[User:Ohjian#ORIENTATION|orientation]]. If navigation requires inclination to lend a functional or affective valence of ''direction'' to mobility, the politics of navigation are bound to claims on constructing these points of referential [[User:Ohjian#ORIENTATION|orientation]], as well as making them sensible, intelligible, and shareable.
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| Second, navigation is reliant on extra-''local'', mental diagrams of [[User:Ohjian#SPACE|space]] and ''time'' that are continually cross-referenced with situated ''localization''. In this way navigation embodies the continuum between the conceptual and the material; and it is due to this [[User:Ohjian#WEAVING|weaving]] that navigators can continually revise and adapt their choreography and markers of [[User:Ohjian#ORIENTATION|orientation]] over ''time''. As the saying goes, the ''map'' is not the ''territory''. However, arresting this thought in its purely oppositional state undermines the crucial, synthetic dynamic wherein the ''map'' (understood as a conceptual artifact) partially shapes:
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| # the perception and perceptibility of the ''territory'' or system,
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| # how that ''territory'' or system is thought to exist beyond immediate sensory feedback (if it is sensible at all),
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| # the possibility [[User:Ohjian#SPACE|space]] of its imagined tractability, and
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| # the understanding of causal ''interrelations'', which contribute to pictures of agency.
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| <br> | |
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| =====ORIENTATION=====
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| We can only find our way in a [[User:Ohjian#DARKNESS|dark]] room if we know the difference of the sides of the body. [[User:Ohjian#SPACE|Space]] then becomes a question of „turning“, of ''directions'' taken which allow us to find our way through the world by situating ourselves in ''relation'' to such things.
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| <br> | |
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| =====SPACE=====
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| is the boundless three-dimensional extent in which objects and events have relative position and ''direction''. In classical physics, physical [[User:Ohjian#SPACE|space]] is often conceived in three linear ''dimensions'', although modern physicists usually consider it, with ''time'', to be part of a boundless four-''dimensional'' continuum known as [[User:Ohjian#SPACE|space]]''time''.
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| <br>
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| =====WEAVING=====
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| Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting.
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| https://upload.wikimedia.org/wikipedia/commons/5/5e/Warp_and_weft_2.jpg
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| https://freight.cargo.site/t/original/i/9e37118a1ef2f0da4f558c00196954da537ac39d1cef9e912b782edb3c94496e/On_Weaving_07.jpg
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| <br>
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| The term can also be used to describe the structure of a text:<br>
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| "The [[User:Ohjian#BOOK|book]] weaves together four stories."
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| <br>
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Annotation Compass</p>==
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">Rejection Map</p>==
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| Notes
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| * Being together and share space while acknowledging differences
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| * Share experiences while acknowledging different backgrounds
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| * embrace multiple ways of knowing and feeling of the world
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| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1">What the book is</p>==
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| =====Investigate the holonym-meronym relations for the book=====
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| NLTK wordnet: There are three kinds of holonym-meronym relations:
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| * member_meronyms()
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| * part_meronyms()
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| * substance_meronyms()
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| * member_holonyms()
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| * part_holonyms()
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| * and substance_holonyms()
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| from nltk.corpus import wordnet as wn<br>
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| wn.synsets('book')
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| [Synset('book.n.01'),
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| Synset('book.n.02'),
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| Synset('record.n.05'),
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| Synset('script.n.01'),
| |
| Synset('ledger.n.01'),
| |
| Synset('book.n.06'),
| |
| Synset('book.n.07'),
| |
| Synset('koran.n.01'),
| |
| Synset('bible.n.01'),
| |
| Synset('book.n.10'),
| |
| Synset('book.n.11'),
| |
| Synset('book.v.01'),
| |
| Synset('reserve.v.04'),
| |
| Synset('book.v.03'),
| |
| Synset('book.v.04')]
| |
| | |
| wn.synset('book.n.02').lemma_names()
| |
| | |
| ['book', 'volume']
| |
| | |
| wn.synset('book.n.02').definition()
| |
| | |
| 'physical objects consisting of a number of pages bound together'
| |
| | |
| sorted(lemma.name() for synset in types_of_book for lemma in synset.lemmas())
| |
| | |
| ['album',
| |
| 'coffee-table_book',
| |
| 'folio',
| |
| 'hardback',
| |
| 'hardcover',
| |
| 'journal',
| |
| 'notebook',
| |
| 'novel',
| |
| 'order_book',
| |
| 'paper-back_book',
| |
| 'paperback',
| |
| 'paperback_book',
| |
| 'picture_book',
| |
| 'sketch_block',
| |
| 'sketch_pad',
| |
| 'sketchbook',
| |
| 'soft-cover',
| |
| 'soft-cover_book',
| |
| 'softback',
| |
| 'softback_book']
| |
| | |
| [synset.name() for synset in paths[0]]
| |
| | |
| ['entity.n.01',
| |
| 'physical_entity.n.01',
| |
| 'object.n.01',
| |
| 'whole.n.02',
| |
| 'artifact.n.01',
| |
| 'creation.n.02',
| |
| 'product.n.02',
| |
| 'book.n.02']
| |
| | |
| wn.synset('book.n.02').part_meronyms()
| |
| | |
| [Synset('binding.n.05'), Synset('fore_edge.n.01'), Synset('spine.n.04')]
| |
| | |
| for synset in wn.synsets('book', wn.NOUN):<br>
| |
| print(synset.name() + ':', synset.definition())
| |
| | |
| book.n.01: a written work or composition that has been published (printed on pages bound together)
| |
| book.n.02: physical objects consisting of a number of pages bound together
| |
| record.n.05: a compilation of the known facts regarding something or someone
| |
| script.n.01: a written version of a play or other dramatic composition; used in preparing for a performance
| |
| ledger.n.01: a record in which commercial accounts are recorded
| |
| book.n.06: a collection of playing cards satisfying the rules of a card game
| |
| book.n.07: a collection of rules or prescribed standards on the basis of which decisions are made
| |
| koran.n.01: the sacred writings of Islam revealed by God to the prophet Muhammad during his life at Mecca and Medina
| |
| bible.n.01: the sacred writings of the Christian religions
| |
| book.n.10: a major division of a long written composition
| |
| book.n.11: a number of sheets (ticket or stamps etc.) bound together on one edge
| |
|
| |
|
| ==<p style="color:#d3d3d3; text-shadow: 10px 10px 18px #FFB6C1, 10px 10px 18px #FFB6C1"> Cocktail Generator< /p> == | | </p> |
| | <br><br> |
|
| |
|
| =<p style="color:#FFB6C1; text-shadow: 2px 2px 4px #0000FF, 2px 2px 4px #0000FF">Special Issue #17</p>=
| | </div> |
| =<p style="color:#FFB6C1; text-shadow: 2px 2px 4px #0000FF, 2px 2px 4px #0000FF">Special Issue #18</p>=
| |
