Ζ213: ΕΞΟΔΟΣ

Kανεις δεν ερχεται πισω μου. Σιγουρα με εχουν ξεχασει. Εδω δε θα ερθει ποτε κανεις να με βρει. Δε θα μπορεσει ποτε να με βρει. Κανεις ποτε. Κι ουτε καταλαβαν οταν εφυγα τιποτα. Δε με προσεξαν δεν εδωσε σημασια δε θυμαται κανεις. Τωρα δε θα θυμουνται ποτε ουτε πως. Ουτε εγω. Ιχνη μονο αοριστη μνημη κι αυτες οι εικονες οταν κοιταζω τι εγραψα, ιχνη βηματων πανω στη λασπη πριν αρχισει να βρεχει ξανα. Αβεβαιες εικονες του δρομου και σκεψεις μισολογα, κι αν τα διαβασεις διχως ονοματα δε θα καταλαβεις, θα μπορουσε να ειναι οπουδηποτε, κι υστερα με κανεναν δε μιλησα κι οσοι με ειδαν αποκλειεται να με θυμουνται. Καθε τοσο ενα προσωπο που φαινεται γνωριμο, απο αλλο καιρο, καποιος σε κοιταξε, τον γνωρισες, οχι, το κομματι ενος αλλου σε ενα αγνωστο προσωπο. Η ο ρυθμος των βηματων που ακουγονται πισω σου, ο ρυθμος των δικων σου βηματων, που νομιζεις καμια φορα πως σε ακολουθουν, οταν εσυ σταματας σταματουν, η για μια στιγμη νομιζεις πως ερχεται πισω σου, η νομιζεις πως καποιος αναπνεει πισω απ’ την πορτα και τωρα θα μπει. Κι υστερα τιποτε, κι υστερα παλι ξανα, και γυρνας ξαφνικα το κεφαλι σα να τον ακουσες. Ομως κανεις. Εισαι μακρια, δε σε ξερει κανεις, δε θελει κανεις να σε βρει, δε σε ψαχνει κανεις. Κι αυριο θα εισαι αλλου ακομη μακρυτερα, ακομη πιο δυσκολο ακομη κι αν εστελναν καποιον. Δε ξερουν το δρομο και μεχρι να μαθουν εσυ εχεις φυγει αλλου. Ξερουν να ψαχνουν αλλα δεν ξερουν το δρομο. Και να εχουν ξεκινησει απο καπου θα ειναι ακομα πολυ μακρια. Και δεν θα ειναι πολλοι. Ισως μονο ενας. Ενας σαν ολοι μαζι. Ιδια ματια που ψαχνουν, ιδιο μυαλο που υπολογιζει την επομενη κινηση. Ιδια ποδια που τρεχουν ιδια χερια που απλωνονται. Τα αυτια που αφουγκραζονται, τα ρουθουνια πανω απ’ τη λεια. Ετσι εκαναν παντα. Δυο ματια, δυο αφτια, δυο ρουθουνια, δυο χερια, δυο ποδια. Η συμμετρια της μηχανης που σε καταδιωκει. Ενα διχτυ που σκεφτεται αποφασιζει και κινειται μπροστα. Το κεφαλι ενα αγκιστρι το σωμα μια ζωνη. Ολοι το ιδιο. Κι εγω. Ο ενας πισω απ’ τον αλλο. Μπροστα πισω πιο πισω, ακολουθωντας το δρομο. Κι αν δεν ξερεις τρεχεις μπροστα ετσι κι αλλιως, γιατι καποιος ερχεται πισω σου παντα. Αργα η γρηγορα ερχεται. Και καποτε φτανει ενα χερι που σε πιανει απ’ τον ωμο, η ενα σκουληκι που ανεβαινει στο χερι σου. Κυλαει πανω σε ενα μαξιλαρι απο σαλιο. Εμπρος. Και καθως κυλαει μεγαλωνει και τυλιγεται γυρω σου. Μια επιπεδη γλωσσα πανω στο σαλιο της με δυο ματια που σηκωνονται να σε δουν. Εσενα ισως οχι, κοιταζουν απο που βολευει να αρχισουν. Σαν αυτον που, εκεινο το βραδυ πεινουσαμε, που ειχε χαραξει ενα στομα ανοιχτο στο στομαχι του. Ετσι κι αυτο το στομαχι εχει στομα, ειναι ενα στομα που ανοιγει. Απο εκει πας αλλου, στο μεσα δρομο που ανοιγεται, στις στροφες του εντερου, εκει βεβαια εισαι αναισθητος πια, αναισθητος παιρνεις το δρομο του γυρισμου και οταν ξυπνας σε εχουν φερει παλι εκει μεσα. 

Δημήτρης Λυάκος, απόσπασμα Poena Damni

encore

αμοιβαία πληροφορία Ι

αμοιβαία, είναι η πληροφορία που σχηματίζεται κατά τη διάδραση δέκτη-πομπού.

πυροβασία

Αρχιαναστενάρη
ξέχνα τα κουρασμένα σου μέλη
τα νευρωμένα χέρια σου
αρκετά βάσταξαν την εικόνα
άκου μόνο τα όργανα
μόνα τους λαλούν
σ'αυτό το κάλεσμα

Ζααρ

Εφοδιασμένος με:
μία ηλεκτρογεννήτρια φωτοβολταικού τύπου (χαμηλής ιπποδύναμης)
έναν αεροσυμπιεστή
ένα πιστόλι βαφής με μακρύ φυσητήρα
ένα πλυντικό υψηλής πίεσης (110 bar)
ένα σετ νανοτρύπανα
κατασκεύαζε με βεβαιότητα
αόρατα ουράνια τόξα.

http://www.needcompany.org/cgi-bin/www_edit/projects/nc/scripts/nc.cgi?a=v&id=11025&t=EN&session=19771

"you can't force the unamable"

Lienux

U_topia

U are my state of mind

διάνθρωπος (I-U)

την εικόνα σου έχασα

κράτα μου το χέρι
η ώρα έρχεται
και τα πόδια μου ακίνητα
και τα γόνατα σίδερα
ως τη μέση και πάγωσα
μίλα μου ακόμα
η στιγμή έφτασε
και το στέρνο μου χάνεται
και τα χείλια μου σβήνουνε
ως τα βλέφαρα πέρασα

Fusion of Horizons/Gadamer

Every finite presentation has its limitations. We define the concept of “situation” by saying that it represents a standpoint that limits the possibility of vision. Hence an essential part of the concept of situation is the concept of “Horizon.” The horizon is the range of vision that includes everything that can be seen from a particular vantage point…. A person who has no horizon is a man who does not see far enough and hence overvalues what is nearest to him. Contrariwise, to have an horizon means not to be limited to what is nearest, but to be able to see beyond it…. The working out of the hermeneutical situation means the achievement of the right horizon of enquiry for the questions evoked by the encounter with tradition.

inside space

He who fights with monsters should be careful lest he thereby
become a monster. And if thou gaze long into an abyss, the abyss will
also gaze into thee.

waggle danse (lets do the)

tous pour un, un pour tous

Isomorphisms are studied in mathematics in order to extend insights from one phenomenon to others: if two objects are isomorphic, then any property which is preserved by an isomorphism and which is true of one of the objects, is also true of the other. If an isomorphism can be found from a relatively unknown part of mathematics into some well studied division of mathematics, where many theorems are already proved, and many methods are already available to find answers, then the function can be used to map whole problems out of unfamiliar territory over to "solid ground" where the problem is easier to understand and work with.

 

Unexpected connection

Tapetum lucidum

η εξορία του εκτός εαυτού

σ'ακούω
να τινάζεις δόντια και γλώσσες
καθηλωμένος στην έδρα σου
βλέπω
το μέτωπό σου να γίνεται μέτωπα
απ'τα χέρια σου να ξεφεύγουν
άλλα χέρια κι απ'τ'ακροδάχτυλά σου
λέξεις και χειρονομίες που μπλέκονται
στις παρυφές του κυκλώνα με άλλες φωνές.

όμως κοίτα
εδώ που βρίσκομαι η ακίδα είναι βαθιά μπηγμένη
οι μεγάκυκλοι απλώνονται με τη σιγουριά της αταραξίας
και θέλω να σου πω καλέ μου
πως δεν χάνομαι
εξωματώνομαι.

η αιώρα του νοήματος

symbolizing animals II

 demetrio stratos

R

άρα, αρ, ρα, αραρίσκω, αρ-θμός, αριστερός, άρτι, ειρήνη, όμηρος

symbolizing animals

Ernest Cassirer was a German philosopher and historian of ideas, often typed as one of the leading exponents of neo-Kantian thought in the 20th century. His major works include The Philosophy of Symbolic Forms (1923-29). Cassirer saw that human beings were above all a symbolizing animals. The whole range of our achievements, are unique parts of our evolutionary process and help us to understand our experience and the world.
Cassirer considered all forms of intellectual activity creative. As a symbol-creating animal, human being is the product of a new mutation in life. Science, language, art, religion, mythology , they all are man-made worlds, expressing the creativity of spirit, or mind, itself. In this capacity they help us to articulate our experience and our knowledge. Symbolic forms have great creative powers but they can also be destructive. Aware of full horrors of Nazism, Cassirer saw that whole nations could fell victims of political myths. When intellectual, ethical and artistic forces lose their strength, mythical thought start to emerge and pervade the whole of man's cultural and social life.

ποιητής της συμφοράς

φαντάστηκε με σπαρακτική μανία τους λόφους της
τις κοιλιές της, τις απωλεσμένες πόλεις της
ακατάσχετα περιγράφοντας το μέσα του ως έξω της'
και είδε τα νωτισμένα του συκώτια διάσπαρτα στα χωράφια της
και τα μάτια του να κυλάνε στους δρόμους
τους νεφρούς του ν'ατιμάζουν τις παρειές , τις πλάτες της
το φλέγμα του να στάζει από τους στήλους στις πλατείες,
τις αρτηρίες του ανάκατες με τη χολή να λιώνουνε
στους τοίχους και τα κράσπεδα'
κι εκείνη δεν είχε άλλο να κάνει απ'το να τον αφήσει
ν' απλώσει ως και τα κόκκαλά του  πάνω στη γη της
(γιατί η ηχώ δεν έφτανε για να σκεπάσει την αγωνία του λόγου του
να του πει πως δεν χρειάζεται να κομματιάζεται άλλο στα κάτοπτρα)
Και δέχτηκε το μακάβριο δώρο του ήσυχα, άφηνοντας τον ήλιο
να λευκάνει τα λείψανα της ψυχής του.

Χα

Ήταν σχεδόν βέβαιο οτί το είχε παρακάνει με το σκάλισμα.
Όχι μόνο της μύτης της.

αντίστροφο αντισύμπαν

Υπάρχει μια μέρα πιο φωτεινή απ’ τη μέρα.
Όποιος βγαίνει σ’ αυτήν, συναντάει το χρόνο,
μιλάει κοινά, συνδέοντας το έξω με το μέσα,
ζει τη ζωή, με μια γαλήνη σαν θάλασσα
απλωμένη αέναα στο στήθος, εξυψωμένος
απ’ τη βία και βλέποντας αυτό που  βλέπει ο άλλος,
πλάι με τις γενναιόψυχες υπενθυμίσεις των άστρων.
Η νύχτα εδώ διαβάζεται ορθά,
και τούτος  ο κόσμος γίνεται η ανάσα τού κόσμου
όπου όλοι εκκινούμε ως άλλοι.

Punch & Judy

the Left imagined punching the Right
the Right imagined punching the Left
the West imagined punching the East
the East imagined punching the West

Mester Jakel/transitivism

Δεξίωσις

Υπάρχει μια νύχτα πιο σκοτεινή απ’ τη νύχτα.
Όποιος μπαίνει σ’ αυτήν, χάνει το χρόνο,
μιλάει αλλιώς, συγχέοντας το μέσα με το έξω,
ζει το θάνατο, μ’ έναν τρόμο σαν άβυσσο
καρφωμένο για πάντα στο στήθος, ρημαγμένος
απ’ τη βία και βλέποντας αυτό που δε βλέπει κανείς,
κάτω απ’ τις αυστηρές υπενθυμίσεις των άστρων.
Η μέρα εκεί διαβάζεται ανάποδα,
κι ο άλλος κόσμος γίνεται ο βραχνάς τού κόσμου
όπου κανείς δεν επιστρέφει ίδιος.

a muse in the dark ages/Reykjavik synecdoche

I remember watching Dancer in the dark at a movie theater in Union Sq. NYC.Never before have I seen a movie punching american capitalism at its core, so directly. Bjork's performance proved to be prophetic, for what followed in her country's socio-economical condition.At the same time, her pop music career went down along with the rope.Her broken voice saying "nobody told me it would be like this" at the final scene, would overshadow any joyful tune ever since. She stood up though with  the unprecedented strength that only a fully naked human being can carry through. 

"capitalism" begins at home

two pieces for four ears (to be played simultaneously)

Puzzle_ini Mamma Atene

7

Το να αμφιβάλλεις είναι στοχαστικό
το να αντιβάλλεις, άσκοπο

Union Sq.

 Περπατούσε βιαστική διασχίζοντας την πλατεία, όταν με την άκρη του ματιού της, τον είδε καθισμένο στο παγκάκι ν' απολαμβάνει το τσιγάρο του στη δύση.Έτσι όπως καθόταν γυρτός στη μια πλευρά, σαν να κάνει χώρο για κάποιον ακόμα δίπλα του, της φάνηκε τόσο οικείος, που μπόρεσε να φανταστεί τον εαυτό της στο κενό και τον χρόνο ακίνητο.
Η κόρνα του τεράστιου πυροσβεστικού οχήματος την επανέφερε στην κίνηση του δρόμου.Στην κόκκινη λαμαρίνα του έγραφε "Danger!fireworks kill!".Πόσο αφελής φαινόταν τώρα πια αυτή η προειδοποίηση...
Κατευθύνθηκε προς τον υπόγειο , κατέβηκε τα σκαλιά και στάθηκε στην πλατφόρμα.Με προορισμό το σπίτι.

ToniC

boo

Στο Λόφο των Μουσών

The biocommunicative approach investigates rule-governed, sign-mediated interactions of plants,
animals, fungi and bacteria. Recent investigations demonstrate that pragmatic context determines meaning of combinations of signs used in all organismic kingdoms by organisms (interorganismic) to coordinate common behaviour as well as in communication processes between cells, issues and organs of organisms (intraorganismic). The primacy of pragmatics is valid also in natural genome editing, if viruses or virus-like agents edit genetic codes of cellular host genomes.

Roman Jakobson's 6ix Functions

Communication Functions
1 referential (= contextual information)
2 aesthetic (= auto-reflection)
3 emotive (= self-expression)
4 conative (= vocative or imperative addressing of receiver)
5 phatic (= checking channel working)
6 metalingual (= checking code working)

creative axis

//per/petual ///earthrisings //and earthfalls/////

ceci n'est pas un video

Nothing lusts for Ever

in_dependence

If Love is structured like a metaphor
Freedom is structured like a metonymy

Wide-eyed presentation of actualities

Benjamin probably was the most peculiar Marxist ever pro-
duced by this movement, which God knows has had its full share
of oddities. The theoretical aspect that was bound to fascinate
him was the doctrine of the superstructure, which was only
briefly sketched by Marx but then assumed a disproportionate
role in the movement as it was joined by a disproportionately
large number of intellectuals, hence by people who were inter-
ested only in the superstructure. Benjamin used this doctrine
only as a heuristic-methodological stimulus and was hardly in-
terested in its historical or philosophical background. What fas-
cinated him about the matter was that the spirit and its material
manifestation were so intimately connected that it seemed per-
missible to discover everywhere Baudelaire's correspondances,
which clarified and illuminated one another if they were prop-
erly correlated, so that finally they would no longer require any
interpretative or explanatory commentary. He was concerned
with the correlation between a street scene, a speculation on the
stock exchange, a poem, a thought, with the hidden line which
holds them together and enables the historian or philologist to
recognize that they must a11 be placed in the same period.

http://netzspannung.org

the eye of the beholder/automatic image annotation

 

 

 

 

 

 

 

 

 

 ceci n'est pas Taj Mahal

Black Pandora singing happy birthday Mr.President

 

creating memorability through intelligibility (and vice versa)

1. to provide concept mappings of the varied items under inspection, and to transform them from a collection into an interrelated system,
2. to give that system a unity or identity so that it can be discussed both by analysis, and with reference to other systems or objects,
3. to provide for the significance of that system in a larger scheme of things,
4. finally, by presenting images, ideas are given unity in a clear and concrete tangible existence.

comedia dell' arte/ globe theater

διάστημα και μνημονοτεχνική/τοπολογία και τέχνη

 In The Art of Memory, Frances Yates elucidates a classical example of the perceptual affects of time and space through media.  The medium of memory utilizes both time and space.  "Artificial memory," a mnemonic technology, was used to remember a speech as it unfolded in time through the media of architecture. [see memory, (2)] The speech was mapped onto specific familiar places or "loci" through which the orator navigated in his or her mind.  In "artificial memory," the temporal and the spatial were inextricable. 
According to Einstein, space and time are relative to the observer.  They are continuous only within the coordinate system in which they are operating.  Therefore, multiple types of "space-time" are conceptually possible outside of the "space-time" experience of human beings (Nerlich 1-11).  In 1907, German mathematician Minkowski published Space and Time , a text that posited a four-dimensional space, with time as the fourth dimension.  Minkowski was a crucial influence on Einstein's revision of the theory of relativity and the further definition of his own concept of "space-time" as a single entity rather than two separate entities (Nerlich 1-11).  Einstein's and Minkowski's conceptions of space radically transformed the media of visual arts and literature.  As Linda Dalrymple Henderson notes in The Fourth Dimension and Non-Euclidean Geometry in Modern Art, modernist movements in the visual arts became concerned with the representation of four-dimensional spatial realities as determined by time.  From Cubism, which still maintained a figurative approach, to the abstractions of Russian suprematism and De Stijl, modern art attempted to depict and form changing spatial and temporal realities.  Likewise, as Joseph Frank proposes in The Idea of Spatial Form , modernist writers intend their work to be read as a distinct moment in time as opposed to a chain of events.  Lessing's categories had switched sides to the pictorial representation of time and the literary representation of space.

timespace

abyss

De inventione

Invention is the excogitation of true things (res), or things similar to truth to render one's cause plausible; disposition is the arrangement in order of the things thus discovered; elocution is the accomodation of suitable words to the invented (things); memory is the firm perception in the soul of things and words; pronunciation is the moderating of the voice and body to suit the dignity of the things and words. [De inventione, I, vii, 9]Cicero

The Flaneur

Who is that man moving slowly in the lonely building, stopping at intervals with an intent face ? He is a rhetoric student forming a set of memory loci.

The Art of Memory/ Ad Herennium

The artificial memory is established from places and images (Constat igitur artificiosa memoria ex locis et imaginibus), the definition to be forever repeated down the ages. A locus is a place easily grasped by the memory, such as a house, an intercolumnar space, a corner, an arch, or the like. Images are forms, marks or simulacra (formae, notae, simulacra) of what we wish to remember. For instance if we wish to recall the genus of a horse, of a lion, of an eagle, we must place their images on definite loci.

The art of memory is like an inner writing. Those who know the letters of the alphabet can write down what is dictated to them and read out what they have written. Likewise those who have learned mnemonics can set in places what they have heard and deliver it from memory. 'For the places are very much like wax tablets or papyrus, the images like the letters, the arrangement and disposition of the images like the script, and the delivery is like the reading.'







http://www.idehist.uu.se/distans/ilmh/Ren/yates-adherenn.htm

Notae

"It is one thing to worship a picture, it is another by means of pictures to learn thoroughly the story that should be venerated. For what writing makes present to those reading, the same picturing makes present to the uneducated, to those perceiving visually, because in it the ignorant see what they ought to follow, in it they read who do not know letters. Wherefore, and especially for the common people, picturing is the equivalent of reading."

phantasmagoria

"Since each phantasm is a combination not only of the neutral form of the perception, but of our response to it (intentio) concerning whether it is helpful or hurtful, the phantasm by its very nature evokes emotion. This is how the phantasm and the memory which stores it helps to cause or bring into being moral excellence and ethical judgement."

Pd

U and I make a wh_eye

One I

au point de capiton

U-set

The empty set is a set of uniqueness. This is just a fancy way to say that if a trigonometric series converges to zero everywhere then it is trivial.

The Mnemotechnics of Morality

This precisely is the long story of how responsibility originated.The task of breeding an animal with the right to make promises evidently embraces and presupposes as a preparatory task that one first makes men to a certain degree necessary, uniform, like among like, regular and consequently calculable...One can well believe that the answers and methods for solving this premival problem were not precisely gentle; perhaps indeed there was nothing more fearful and uncanny in the whole prehistory of man than his mnemotechnics."If something is to stay in the memory it must be burned in: only that which never ceases to hurt stays in the memory"-this is the main clause of the oldest (unhappily also the most enduring) psychology on earth.
           
Friedrich Nietzsche


when I think of U, my mind hurts

already forgetting

on empathy

inversion_Commedia Divina_topology and ethos

(inversion) Freud uses the term ‘inversion’ to designate homosexuality, the idea being

that homosexuality is the inverse of heterosexuality. Lacan uses the term in this sense too

in his early works (Lacan, 1938:109).

However, in Lacan’s post-war works the term is used in quite a different sense.

Inversion then usually refers to a characteristic of the SPECULAR IMAGE; what appears

on one side of the real body appears on the other side of the image of the body reflected

in the mirror (see Lacan, 1951b:15). By extension, inversion becomes a quality of all

imaginary phenomena, such as TRANSITIVISM. Thus in schema L, the imaginary is

represented as a barrier blocking the discourse of the Other, causing this discourse to

arrive at the subject in an inverted form. Hence Lacan’s definition of analytic

communication in which the sender receives his own message in an inverted form.

In 1957, both senses of the term are brought together in Lacan’s discussion of

Leonardo da Vinci. Taking up Freud’s argument about Leonardo’s homosexuality (Freud,

1910c), Lacan goes on to argue that Leonardo’s specular identification was highly

unusual in that it resulted in an inversion of the positions (on schema L) of the ego and

the little other (S4, 433–4).

the 3 bodies

the self-indulgent
the violent
the malicious

decapitated genius_or the envy of the father_or feeling guilty about one's "own" creativity

ο όμιλος είναι άθροισμα στο χώρο, ενώ το παράγωγό του  είναι γινόμενο στο χρόνο

4fold

becoming
knowing
being
willing



http://en.wikisource.org/wiki/On_the_Fourfold_Root_of_the_Principle_of_Sufficient_Reason

I would like U to see what I see

Just

look at the difference

Entering the Real

Four people went through the wall of language
one looked and died;
one looked and went mad;
one destroyed words;
one entered in peace and departed in peace

ΣΗΜΑ

ASJA Η MHXANIKOΣ ΤΟΥ ΜΟΝΟΔΡΟΜΟΥ

 


Ο δρόμος αυτός ονομάζεται
ΟΔΟΣ Asja Lācis
από το όνομα αυτής
που ως μηχανικός
τον διάνοιξε μέσα στον συγγραφέα




(Αφιέρωση του W. Benjamin στο βιβλίο του "Μονόδρομος", Βερολίνο 1928)

W.B. on the Web

"technical reproduction gives back what technical production takes away"-the availability of technically produced images allows a "new capacity to study modern existence reflectively"

chaos game

http://en.wikipedia.org/wiki/Sierpi%C5%84ski_triangle
http://www.plosbiology.org/article/info:doi/10.1371/journal.pbio.0020424

Algorithms and information, fundamental to technological and biological organization, are also an essential aspect of many elementary physical phenomena, such as molecular self-assembly. Here we report the molecular realization, using two-dimensional self-assembly of DNA tiles, of a cellular automaton whose update rule computes the binary function XOR and thus fabricates a fractal pattern—a Sierpinski triangle—as it grows. To achieve this, abstract tiles were translated into DNA tiles based on double-crossover motifs. Serving as input for the computation, long single-stranded DNA molecules were used to nucleate growth of tiles into algorithmic crystals. For both of two independent molecular realizations, atomic force microscopy revealed recognizable Sierpinski triangles containing 100–200 correct tiles. Error rates during assembly appear to range from 1% to 10%. Although imperfect, the growth of Sierpinski triangles demonstrates all the necessary mechanisms for the molecular implementation of arbitrary cellular automata. This shows that engineered DNA self-assembly can be treated as a Turing-universal biomolecular system, capable of implementing any desired algorithm for computation or construction tasks.

A_mors

http://books.google.gr/books?id=IdyM5MmdPBcC&pg=PA269&lpg=PA269&dq=WILLIAM+E.+ENGEL&source=bl&ots=vwqLcgzHvm&sig=TExGioX8mh1iwtHJveIKWksWqcQ&hl=el&ei=xY7aS5elA4OVONCOyLMP&sa=X&oi=book_result&ct=result&resnum=8&ved=0CDgQ6AEwBw#v=onepage&q=WILLIAM%20E.%20ENGEL&f=false

convolutions_or how to read Arcades Project

"One must have a rigid, easily retained order, with a definite beginning. Into this order one places the components of what one wishes to memorize and recall. As a money-changer ("nummularium") separates and classifies his coins by type in his money bag ("sacculum," "marsupium"), so the contents of wisdom's storehouse ("thesaurus," "archa"), which is the memory, must be classified according to a definite, orderly scheme."

O'Keefe and Nadel refer to "'the method of loci', an imaginal technique known to the ancient Greeks and Romans and described by Yates (1966) in her book The art of memory as well as by Luria (1969). In this technique the subject memorizes the layout of some building, or the arrangement of shops on a street, or any geographical entity which is composed of a number of discrete loci. When desiring to remember a set of items the subject literally 'walks' through these loci and commits an item to each one by forming an image between the item and any distinguishing feature of that locus. Retrieval of items is achieved by 'walking' through the loci, allowing the latter to activate the desired items. The efficacy of this technique has been well established (Ross and Lawrence 1968, Crovitz 1969, 1971, Briggs, Hawkins and Crovitz 1970, Lea 1975), as is the minimal interference seen with its use."

decoding Arcades Project

Mnemonic criticism as I have been outlining it has still other closely related applications. By investigating the popular emblems of death and accompanying doggerel, designed to remind the viewer of his or her ultimate end, we can rescue from obscurity some of the commonplace images and moral saws known to Catholics and Protestants alike. After all, with its explicit commemorative injunction to reflect on the motto “Memento Mori” [Remember your Death], the death's head is a focal emblem of the Renaissance. Treating the Book of Christian Prayers, better known as Queen Elizabeth's Prayer Book, in terms of mnemonic criticism enables us to elucidate the relation of the visual and textual properties of this popular work in ways never before attempted. Such an approach permits us to address the rationale behind the series of moral messages along the margins of this book which are conveyed by hieroglyphic memorials of man's transience and of God's grand design. Looking at the home prayer book in this way, at its messages and its method for conveying them, will make accessible to contemporary readers the ways the ars memorativa was expressed through and, in some cases, gave shape to contemplative texts.

Mnemonic Criticism & Renaissance Literature: A Manifesto

index_form

index_ content

 But soft, my Genius; ere thou leade thy Reader into the Maze or Labyrinth of the beauties therin contained, pause heer a while, to consider how to behaue thy self . . . . First then shalt thou presente him with the Symbol it self, set-forth in manner of a Deuise, with an Imprese and Motto, expressing the allusion to the SACRED PARTHENES herself, in some mysterie of hers, [page 19] or attribute belonging to her . . . . Then looking back with a fresh reuiew on the Symbol itself, by way of an Essay, shalt thou make a fuller Suruey therof, dis­coursing on the Paragon herself, to match, compare, and paralel them togeather, to find out some Elogies or other, in prayse of our SACRED PARTHENES . . . . And after al, shalt thou inuite him to Apostrophize with the Paragon PARTHENES herself, vnder the Symbol so handled, being the vtmost scope, and ful fruition of the whole; and so conclude the peece with some boone or suite, correspondent to the present occasion, in euerie one. And this method would I haue thee keepe in al. (sig. A7v-A8v)
http://www.uni-tuebingen.de/uni/nec/engel11.htm

Mnemonica by Willis, John

Book description: London : printed and are to be sold by Leonard Sowersby, at the Turn-stile, near New-market, in Lincolns-Inn fields, 1661.. Octavo, . First edition of the Sowersby translation. A-M8 One full page woodcut of a (memory) theater . This copy is bound in full contemporary, sheep with blind ruled borders and spine. It exhibits light browning but is, otherwise, clean and free of defect. . Mnemonica is interesting chiefly because of its use of the Elizabethan theater as a memory locus. Dividing a theater in half, lengthwise, Willis produces what he terms a memory repository having two rooms, designed for very simple mnemotechnic, such as shopping lists or prices. The importance of Willis' work lies in its probable influence on Robert Fludd (1574-1637). In the second part of his Utriusque Cosmoi Maioris scilicet et Minoris, Metaphysica, Physica atque Technica Historia (Oppenheim, 1619), Fludd develops this use of the theater as a memory locus along Hermetic-cabalist lines. Frances Yates points out that Fludd uses as his model locus the famous Globe Theater in London. Willis may also be the inspiration behid Fludd's theaters of Night and Day in the zodiac, parts of an occult memory system. Mnemonica was translated into English by Leonard Sowersby in 1661.

I love you

men treat women as they treat their life
women treat men as they treat their death

μυαλό-κουκούτσι...

Ecce Homo: Wie man wird, was man ist

In the last chapter of his last book Nietzsche said "Why I am a Destiny". And then he walked into insanity.He was so right.

μινιμάχιμη

reflection

major progress in process

Minimaximum Live / Sunday @ Nixon

ne figyelj törekvő

Googgling

υποτείνουσα λύση

http://en.wikipedia.org/wiki/Square_root_of_2

fl_i

the promise

let's grow old together
and die at the same time

being outside of your language

Erano i capei d'oro a l'aura sparsi

the song

www.hahahaha.org

The Tragics

P.R.A.N.K

"Loopback" IP addresses:

127.0.0.0 - 127.255.255.255

Each computer on the Internet uses 127.0.0.0/8 to identify itself, to itself. 127.0.0.0 to 127.255.255.255 is earmarked for what is called "loopback". This construct allows a computer to establish/validate its IP stack. Most software only uses 127.0.0.1 for loopback purposes (the other addresses in this range are seldom used). All of the addresses within the loopback address are treated with the same levels of restriction in Internet routing, so it is difficult to use any other addresses within this block for anything other than node specific applications, generally bootstraping. This is documented in RFC 5735.

A loopback interface has several uses. It may be used by network client software on a computer to communicate with server software on the same computer, viz., on a computer running a web server, pointing a web browser to the URLs http://127.0.0.1/ or http://localhost/ will access that computer's own web site. This works without any actual network connection–so it is useful for testing services without exposing them to security risks from remote network access. Likewise, pinging the loopback interface is a basic test of the functionality of the IP stack in the operating system.

Packets sent in an IP network with a source address belonging to the loopback interface can cause a number of problems for older or buggy network software. Such packets are known as "martian packets" [1]. The Internet Protocol specification dictates that such packets must not be transmitted outside of a host, and must be dropped if received on a network interface (cf. RFC 1700, RFC 2893).

One notable exception to the use of the loopback network addresses (127/8) is their use in Multiprotocol Label Switching (MPLS) traceroute error detection techniques (RFC 4379) in which their property of not being routable provides a convenient means to avoid delivery of faulty packets to end users.

Loopback addresses are the subject of a reasonably common Internet prank: directing an inexperienced user to connect to (or attack) his own loopback interface as if it were a remote server[2].

127.0.0.0/8 - This block is assigned for use as the Internet host
loopback address. A datagram sent by a higher-level protocol to an
address anywhere within this block loops back inside the host. This
is ordinarily implemented using only 127.0.0.1/32 for loopback. As
described in [RFC1122], Section 3.2.1.3, addresses within the entire
127.0.0.0/8 block do not legitimately appear on any network anywhere.