syn·site
1: BLIP. Any experience, exchange, environment, observation, object, or relationship of objects crystallized in a networked space — whether actual or virtual — distinguished by an equation of universal and specific inputs. » Gazing into the hyper-saturated yellow-green pool of soggy, disintegrated oak pollen, she found herself briefly immersed in a SYN-SITE of her childhood home and #ADFF2F.
2: COMPOUNDING. A compounding reconfiguration of distilled fragments — fragments of selves, sites, and associations. It activates at the intersection of the specific and the abstract, the internal and external, the actual and the virtual, the organic and the synthetic. It's at once an artwork and a network, at once a space and a memory. Realized, it approximates a crystallized, collaborative consciousness. » John aspires to create a grand web-based SYN-SITE, an interactive sculpture park that exists as a conceptual re-working of the state of Texas.
< ORIGIN > The SITE/NON-SITE theories of Robert Smithson, revisited in light of today's NETWORK AESTHETICS. < CONTRA > In both its blip and compounding manifestations, SYN-SITE disrupts DRIFT
1: BLIP. Any experience, exchange, environment, observation, object, or relationship of objects crystallized in a networked space — whether actual or virtual — distinguished by an equation of universal and specific inputs. » Gazing into the hyper-saturated yellow-green pool of soggy, disintegrated oak pollen, she found herself briefly immersed in a SYN-SITE of her childhood home and #ADFF2F.
2: COMPOUNDING. A compounding reconfiguration of distilled fragments — fragments of selves, sites, and associations. It activates at the intersection of the specific and the abstract, the internal and external, the actual and the virtual, the organic and the synthetic. It's at once an artwork and a network, at once a space and a memory. Realized, it approximates a crystallized, collaborative consciousness. » John aspires to create a grand web-based SYN-SITE, an interactive sculpture park that exists as a conceptual re-working of the state of Texas.
< ORIGIN > The SITE/NON-SITE theories of Robert Smithson, revisited in light of today's NETWORK AESTHETICS. < CONTRA > In both its blip and compounding manifestations, SYN-SITE disrupts DRIFT
SYN (along with, at the same time | from Greek SYN, with | ~SYNTHETIC) + SITE (N: point of event, occupied space, internet address; V: to place in position | from Latin SITUS, location, idleness, forgetfulness | ~WEBSITE ¬cite ¬sight), cf. SITE/NON-SITE (from Robert Smithson, A PROVISIONAL THEORY OF NONSITES, 1968)
A Glitch Feminist acknowledges the value of visuality, and the revolutionary role that digital practice has in expanding the construction, deconstruction, and re-presentation of the female-identifying corpus. We acknowledge that the rigidity of digital dualism needs to be retired, as it plays into binaries of real/virtual that parallel the rampantly socialized figuration of male/female.
A Glitch Feminist acknowledges the value of visuality, and the revolutionary role that digital practice has in expanding the construction, deconstruction, and re-presentation of the female-identifying corpus. We acknowledge that the rigidity of digital dualism needs to be retired, as it plays into binaries of real/virtual that parallel the rampantly socialized figuration of male/female.
A Glitch Feminist acknowledges the value of visuality, and the revolutionary role that digital practice has in expanding the construction, deconstruction, and re-presentation of the female-identifying corpus. We acknowledge that the rigidity of digital dualism needs to be retired, as it plays into binaries of real/virtual that parallel the rampantly socialized figuration of male/female.
It is now less and less necessary for the writer to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality.
It is now less and less necessary for the writer to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality.
It is now less and less necessary for the writer to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality.
Alfred Korzybski remarked that "the map is not the territory" and that "the word is not the thing", encapsulating his view that an abstraction derived from something, or a reaction to it, is not the thing itself.
Alfred Korzybski remarked that "the map is not the territory" and that "the word is not the thing", encapsulating his view that an abstraction derived from something, or a reaction to it, is not the thing itself.
Alfred Korzybski remarked that "the map is not the territory" and that "the word is not the thing", encapsulating his view that an abstraction derived from something, or a reaction to it, is not the thing itself.
