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Special Issue #16

Getting Started

Readings

References

"A Rose is a Rose is a rose", Gertrude Stein
Oulipu
George perec
"Sprache und sein", Kübra Gümüşay
"Dictionary of Winds", Ivetta Gerasimchuk

Words of interest

Archive
Atlas
Book
Context
Darkness
Destination
Direction
Encyclopedia
Index
Interrelations
Language
Lexikon
Local
Lacolization
Map
Mobility
Movements
Multiverse
Multilayers
Navigation
Navigator
Orientation
Question Mark
Rejection
Relation
Space
Territory
Toolkit
Weaving

Notes

Readings for Prototyping class

Wiki Page Prototyping Class SI 16

Exploratory Programming for the Arts and Humanities by Nick Montfort

[ 4 ] Calculating and Using Jupiter Notebook

calculator (to calculate) / computer (to compute) / ordinateur (French, to order, to organize)

Python is a programming language

Jupiter Notebook is an interpreter of Python

Syntax vs. Semantics in programming languages like Python or Processing:

If the Syntax is correct, the code is formally correct, it is valid.
If the code does what it is supposed to do, it is intentional.
Intentional programs are always valid.
Valid programs are not always intentional.

Syntax and Semantics in HTML (Hypertext Markup Language):

HTML is not a programming language
JavaScript is a program
HMTL does not encode instructions
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.

! 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 !

[ 5 ] Double, Double

Indentation is important! Use 4 spaces instead of a tab!

Function: a bundle of computation 7 it must be provided exactly one argument / a function accepts arguments as well as returns values
Interface: Schnittstelle / the specific way in which a function accepts an argument and returns values defines the interface to a function
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
Value: Ergebnis / Result that is returned by the function
Sequence: data that is given as an argument
Element: a sequence can have several elements, a list [element, element, element]

[ 6 ] Programming Fundamentals

Types of Abstraction:

iteration = generalize a computation over a sequence / looping / allows repeated computation
polymorphism = a code that applies to data of different types

there are different types of data, for example:

integral numbers = int
strings of characters = str
lists of integers = int
Boolean value = True/False

some functions or operator only work with certain types of data, other are polymorph and work with different types of data

types of data can be converted = casting

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

Reflection moment

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 …

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).

What do you think? Should we just play around with this and then present our favorites in class?

Experiments

A small Lexikon on Terms of Interest Whip

NAVIGATION

is not destination, but it is not entirely divorced from destination either. It’s a movement of inclination requiring markers of 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 orientation, as well as making them sensible, intelligible, and shareable. Second, navigation is reliant on extra-local, mental diagrams of 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 weaving that navigators can continually revise and adapt their choreography and markers of 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: a) the perception and perceptibility of the territory or system, b) how that territory or system is thought to exist beyond immediate sensory feedback (if it is sensible at all), c) the possibility space of its imagined tractability, and d) the understanding of causal interrelations, which contribute to pictures of agency.

ORIENTATION

We can only find our way in a dark room if we know the difference of the sides of the body. 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.

DARKNESS

Tino Sehgal – This Variation
First performed in 2012 at Documenta 13 in Kassel

SPACE

is the boundless three-dimensional extent in which objects and events have relative position and direction. In classical physics, physical 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 spacetime.

WEAVING

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.

The term can also be used to describe the structure of a text:
"The book weaves together four stories."

BOOK

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.

A BOOK IS THE PHYSICAL SUPPORT OF TEXT USING A RECOMBINANT STRUCTURE TO PROVIDE SEQUENTIAL NAVIGATION   A BOOK IS AN ARCHIVE USING WORDS TO PROVIDE ISOLATED KNOWLEDGE

A BOOK IS A PORTABLE DATA STORAGE USING NODES AND LINKS TO PROVIDE PERFORMATIVE TRUTH

A BOOK IS A SEQUENCE OF MOMENTS USING NODES AND LINKS TO PROVIDE PERFORMATIVE MEANING

A BOOK IS A SEQUENCE OF MOMENTS USING LAYERS TO PROVIDE CERTAIN NAVIGATION

A BOOK IS AN INTIMATE SPACE USING JUXTAPOSITIONS TO PROVIDE RANDOM INFORMATION

A BOOK IS AN ARTIFACT USING A SYSTEM OF KNOTTED STRINGS TO PROVIDE NAVIGATIONAL NEGOTIATION

A BOOK IS AN INTIMATE SPACE

           USING A RECOMBINANT STRUCTURE

TO PROVIDE PRECISE THOUGHTS   A BOOK IS AN EVENT USING NODES AND LINKS TO PROVIDE SEQUENTIAL ACCESS   A BOOK IS AN INTERFACE USING ANY NUMBERS OF PHYSICAL FORMS TO PROVIDE ISOLATED KNOWLEDGE   A BOOK IS A SEQUENCE OF ROOMS USING INTERCONNECTIONS TO PROVIDE CERTAIN NEGOTIATION

A BOOK IS AN OBJECT USING LAYERS TO PROVIDE SPECIFIC

   KNOWLEDGE

A BOOK IS A SEQUENCE OF MOMENTS USING A SYSTEM OF KNOTTED STRINGS TO PROVIDE SPECIFIC MEANING

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