syn·site
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)
When you have the thing that's dark and alienating and also magical, it has the power to force inner contradiction and conflict. And for me that is valuable because it's the source of meaning. It's a fallacy to correlate meaning with clarity. It's a process. It's a way of being with conflict and conflict and paradox over time and it's a 'slogging through' process.
When you have the thing that's dark and alienating and also magical, it has the power to force inner contradiction and conflict. And for me that is valuable because it's the source of meaning. It's a fallacy to correlate meaning with clarity. It's a process. It's a way of being with conflict and conflict and paradox over time and it's a 'slogging through' process.
When you have the thing that's dark and alienating and also magical, it has the power to force inner contradiction and conflict. And for me that is valuable because it's the source of meaning. It's a fallacy to correlate meaning with clarity. It's a process. It's a way of being with conflict and conflict and paradox over time and it's a 'slogging through' process.
You could argue that sampling poisoned the well. On the other hand, it is true that in homeopathic medicine, and sometimes in magic, you put a drop of the bad thing, the thing you fight, into water or some other medium. Sampling may be invasive, negating repetition, disordering us, but then that’s the wish of every man, to disorder, to mayhem.
You could argue that sampling poisoned the well. On the other hand, it is true that in homeopathic medicine, and sometimes in magic, you put a drop of the bad thing, the thing you fight, into water or some other medium. Sampling may be invasive, negating repetition, disordering us, but then that’s the wish of every man, to disorder, to mayhem.
You could argue that sampling poisoned the well. On the other hand, it is true that in homeopathic medicine, and sometimes in magic, you put a drop of the bad thing, the thing you fight, into water or some other medium. Sampling may be invasive, negating repetition, disordering us, but then that’s the wish of every man, to disorder, to mayhem.
Sometimes I consider myself a fisherman. Computer programs and ideas are the hooks, rods, and reels. Computer pictures are the trophies and delicious meals. A fisherman does not always know what the waters will yield… Often the specific catch is a surprise.
Sometimes I consider myself a fisherman. Computer programs and ideas are the hooks, rods, and reels. Computer pictures are the trophies and delicious meals. A fisherman does not always know what the waters will yield… Often the specific catch is a surprise.
Sometimes I consider myself a fisherman. Computer programs and ideas are the hooks, rods, and reels. Computer pictures are the trophies and delicious meals. A fisherman does not always know what the waters will yield… Often the specific catch is a surprise.
The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.
The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.
The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.
Just as Joseph-Marie Jacquard’s silk-weaving machine could automatically create images using a chain of punched cards, so too could Babbage’s system—the engine, Lovelace explained, weaved algebraic patterns.
Just as Joseph-Marie Jacquard’s silk-weaving machine could automatically create images using a chain of punched cards, so too could Babbage’s system—the engine, Lovelace explained, weaved algebraic patterns.
Just as Joseph-Marie Jacquard’s silk-weaving machine could automatically create images using a chain of punched cards, so too could Babbage’s system—the engine, Lovelace explained, weaved algebraic patterns.