syn·site

sin.sīt
noun, verb

1: CONVERGING. 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.

2: EXPANDING. 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 is at once artwork and network, space and memory. Realized, it approximates a crystallized, collaborative consciousness. » Christine aspires to create a grand web-based SYN-SITE: a metaphorical Texas.

< ORIGIN > The SITE/NON-SITE theory of Robert Smithson, revisited in light of today's NETWORK AESTHETICS. < CAVEAT > FAULT LINES may fracture the crystallized consciousness.

1: CONVERGING. 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.

2: EXPANDING. 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 is at once artwork and network, space and memory. Realized, it approximates a crystallized, collaborative consciousness. » Christine aspires to create a grand web-based SYN-SITE: a metaphorical Texas.

< ORIGIN > The SITE/NON-SITE theory of Robert Smithson, revisited in light of today's NETWORK AESTHETICS. < CAVEAT > FAULT LINES may fracture the crystallized consciousness.

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)

Exclamation points survive as tokens of the disjunction between idea and realization in that period, and their impotent evocation redeems them in memory: a desperate written gesture that yearns in vain to transcend language.

Exclamation points survive as tokens of the disjunction between idea and realization in that period, and their impotent evocation redeems them in memory: a desperate written gesture that yearns in vain to transcend language.

Exclamation points survive as tokens of the disjunction between idea and realization in that period, and their impotent evocation redeems them in memory: a desperate written gesture that yearns in vain to transcend language.

one continuous self, two sides of a vivacious equation looped together in a continual narrative of daily living and human existence. The glitch splits the difference; it is a plank that passes between the two.

one continuous self, two sides of a vivacious equation looped together in a continual narrative of daily living and human existence. The glitch splits the difference; it is a plank that passes between the two.

one continuous self, two sides of a vivacious equation looped together in a continual narrative of daily living and human existence. The glitch splits the difference; it is a plank that passes between the two.

The matador is gored, the real jumps out and punctures the screen or strip of film, destroying it. . . . The challenge isn’t to depict this real realistically, or even ‘well’, but to approach it in the full knowledge that, like some roving black hole, it represents (though that’s not the right word anymore) the point at which the writing’s entire project crumples and implodes.

The matador is gored, the real jumps out and punctures the screen or strip of film, destroying it. . . . The challenge isn’t to depict this real realistically, or even ‘well’, but to approach it in the full knowledge that, like some roving black hole, it represents (though that’s not the right word anymore) the point at which the writing’s entire project crumples and implodes.

The matador is gored, the real jumps out and punctures the screen or strip of film, destroying it. . . . The challenge isn’t to depict this real realistically, or even ‘well’, but to approach it in the full knowledge that, like some roving black hole, it represents (though that’s not the right word anymore) the point at which the writing’s entire project crumples and implodes.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.