syn·site
in Robert Smithson's terms*: (a partially generated and generative theory) The Synsite (an entangled situating) is an inter-dimensional picture that is amorphous, and yet it represents an interweaving of actual and virtual sites (an amalgamation of the Pine Barrens Plains, ML-scene processing, and the hyper-saturated yellow-green of a pool of disintegrated oak pollen, for instance). It is by this inter-dimensional metaphor that one entangled situating can represent another entangled situating, which does not resemble it—thus The Synsite. To comprehend this language of situating is to appreciate the metaphor between the syntactical construct and the complex of ideas, permitting the former to operate as a inter-dimensional picture that doesn't look like a picture. ... Between the actual-virtual sites in their respective planes and The Synsite itself exists a metaphoric space of collapsible significance. Perhaps "travel" through this space is a boundless metaphor. Everything in and between the entangled situatings could transform into physical metaphorical material devoid of natural meanings or realistic assumptions. Let us say that one embarks on many fictitious journeys at once if one decides to seek the site of the Synsite. Each “journey” is invented, devised, artificial; one might call it a syn-trip to a site from a Synsite. Once one arrives at the “assembly,” one discovers that it is man-made in the form of a network, and that she mapped this network in an aesthetic and temporal entanglement rather than specific political or economic boundaries.
This revisited theory is currently collaborative but could be surrendered to the faceless corpus of AGI at any time. Like the sources they scrape, theories are also both used and abandoned. That theories are constant is dubious; that sources are singularly credited is increasingly doubtful. Vanished theories compose the dense data layers of countless LLMs.
in Robert Smithson's terms*: (a partially generated and generative theory) The Synsite (an entangled situating) is an inter-dimensional picture that is amorphous, and yet it represents an interweaving of actual and virtual sites (an amalgamation of the Pine Barrens Plains, ML-scene processing, and the hyper-saturated yellow-green of a pool of disintegrated oak pollen, for instance). It is by this inter-dimensional metaphor that one entangled situating can represent another entangled situating, which does not resemble it—thus The Synsite. To comprehend this language of situating is to appreciate the metaphor between the syntactical construct and the complex of ideas, permitting the former to operate as a inter-dimensional picture that doesn't look like a picture. ... Between the actual-virtual sites in their respective planes and The Synsite itself exists a metaphoric space of collapsible significance. Perhaps "travel" through this space is a boundless metaphor. Everything in and between the entangled situatings could transform into physical metaphorical material devoid of natural meanings or realistic assumptions. Let us say that one embarks on many fictitious journeys at once if one decides to seek the site of the Synsite. Each “journey” is invented, devised, artificial; one might call it a syn-trip to a site from a Synsite. Once one arrives at the “assembly,” one discovers that it is man-made in the form of a network, and that she mapped this network in an aesthetic and temporal entanglement rather than specific political or economic boundaries.
This revisited theory is currently collaborative but could be surrendered to the faceless corpus of AGI at any time. Like the sources they scrape, theories are also both used and abandoned. That theories are constant is dubious; that sources are singularly credited is increasingly doubtful. Vanished theories compose the dense data layers of countless LLMs.
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)
...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.
...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.
...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.
we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it
we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it
we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it
..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."
..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."
..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."
Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.
Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.
Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.
What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...
What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...
What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...
A line is a dot that went for a walk.
A drawing is a line that went for a walk.
A line is a dot that went for a walk.
A drawing is a line that went for a walk.
A line is a dot that went for a walk.
A drawing is a line that went for a walk.
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.
The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.
The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.
The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.
apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.
apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.
apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.
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.
The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.
The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.
The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.
This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]
We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]
This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.
This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]
We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]
This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.
This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]
We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]
This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.