syn·site

sin.sīt
noun, verb

(1) an entangled situating, conjured in approximation

naughty-site–knotty-sight—cited-knot–sighted-naught—naughty-cited-sight–knotty-cited-site—sited-cited-naughty-knot–knotted-knighted-sited-naught—sighted-knot-cited–sited-not-naught

that approximation, translated and re-presented (2)

(1) an entangled situating, conjured in approximation

naughty-site–knotty-sight—cited-knot–sighted-naught—naughty-cited-sight–knotty-cited-site—sited-cited-naughty-knot–knotted-knighted-sited-naught—sighted-knot-cited–sited-not-naught

that approximation, translated and re-presented (2)

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)

The slime helps a snail glide over abrasive terrain, and also creates a map of the snail’s path through time

The slime helps a snail glide over abrasive terrain, and also creates a map of the snail’s path through time

The slime helps a snail glide over abrasive terrain, and also creates a map of the snail’s path through time

the unconscious stretches out feelers, through the medium of the system Pcpt.-Cs., towards the external world and hastily withdraws them as soon as they have sampled the excitations coming from it.

the unconscious stretches out feelers, through the medium of the system Pcpt.-Cs., towards the external world and hastily withdraws them as soon as they have sampled the excitations coming from it.

the unconscious stretches out feelers, through the medium of the system Pcpt.-Cs., towards the external world and hastily withdraws them as soon as they have sampled the excitations coming from it.

…the only hope is in error because when all the technological systems work—we are lost.

…the only hope is in error because when all the technological systems work—we are lost.

…the only hope is in error because when all the technological systems work—we are lost.

The second irruption I will leave for you to guess at. I will hint at the latter by saying that a petite morte of the physical self can be easily mirrored in the metaphor of the digital “glitch”—a little digital death, a wheeze, a shift, a breath, a sneeze, a pause. A glitch. I am writing from there: the glitch.

The second irruption I will leave for you to guess at. I will hint at the latter by saying that a petite morte of the physical self can be easily mirrored in the metaphor of the digital “glitch”—a little digital death, a wheeze, a shift, a breath, a sneeze, a pause. A glitch. I am writing from there: the glitch.

The second irruption I will leave for you to guess at. I will hint at the latter by saying that a petite morte of the physical self can be easily mirrored in the metaphor of the digital “glitch”—a little digital death, a wheeze, a shift, a breath, a sneeze, a pause. A glitch. I am writing from there: the glitch.

the noise seems immediately suggestive of another dimension's alien strangeness. A dimension out of which ghoulish and unnatural things might flicker and ooze.

the noise seems immediately suggestive of another dimension's alien strangeness. A dimension out of which ghoulish and unnatural things might flicker and ooze.

the noise seems immediately suggestive of another dimension's alien strangeness. A dimension out of which ghoulish and unnatural things might flicker and ooze.

Glitches, feedback, white noise, interference, static - although these may not be the final frontier, they are demonstrably - for now - the edge. [...] Cyberspace is now the error-space. The place where pixels crash against each other in chaos.

Glitches, feedback, white noise, interference, static - although these may not be the final frontier, they are demonstrably - for now - the edge. [...] Cyberspace is now the error-space. The place where pixels crash against each other in chaos.

Glitches, feedback, white noise, interference, static - although these may not be the final frontier, they are demonstrably - for now - the edge. [...] Cyberspace is now the error-space. The place where pixels crash against each other in chaos.

“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.

“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.

“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.

...like a piece of sensitive photographic paper, waiting passively to feel the shock of impression. And then I was quivering like a leaf, more precisely like a mute hunk of appetitional plasm, a kind of sponge in which the business of being excited was going on, run through by a series of external stimuli: the lane, the man, the pale light, the lash of silver – at the ecstatic edge of something to be known.

...like a piece of sensitive photographic paper, waiting passively to feel the shock of impression. And then I was quivering like a leaf, more precisely like a mute hunk of appetitional plasm, a kind of sponge in which the business of being excited was going on, run through by a series of external stimuli: the lane, the man, the pale light, the lash of silver – at the ecstatic edge of something to be known.

...like a piece of sensitive photographic paper, waiting passively to feel the shock of impression. And then I was quivering like a leaf, more precisely like a mute hunk of appetitional plasm, a kind of sponge in which the business of being excited was going on, run through by a series of external stimuli: the lane, the man, the pale light, the lash of silver – at the ecstatic edge of something to be known.

Matter represents in relation to the economy of the universe what crime represents in relation to the law.

Matter represents in relation to the economy of the universe what crime represents in relation to the law.

Matter represents in relation to the economy of the universe what crime represents in relation to the law.

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.

A dictionary begins when it no longer gives the meaning of words, but their tasks. Thus formless is not only an adjective having a given meaning, but a term that serves to bring things down in the world, generally requiring that each thing have its form. What it designates has no rights in any sense and gets itself squashed everywhere, like a spider or an earthworm. In fact, for academic men to be happy, the universe would have to take shape. All of philosophy has no other goal: it is a matter of giving a frock coat to what is, a mathematical frock coat. On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit.

A dictionary begins when it no longer gives the meaning of words, but their tasks. Thus formless is not only an adjective having a given meaning, but a term that serves to bring things down in the world, generally requiring that each thing have its form. What it designates has no rights in any sense and gets itself squashed everywhere, like a spider or an earthworm. In fact, for academic men to be happy, the universe would have to take shape. All of philosophy has no other goal: it is a matter of giving a frock coat to what is, a mathematical frock coat. On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit.

A dictionary begins when it no longer gives the meaning of words, but their tasks. Thus formless is not only an adjective having a given meaning, but a term that serves to bring things down in the world, generally requiring that each thing have its form. What it designates has no rights in any sense and gets itself squashed everywhere, like a spider or an earthworm. In fact, for academic men to be happy, the universe would have to take shape. All of philosophy has no other goal: it is a matter of giving a frock coat to what is, a mathematical frock coat. On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit.

CONFUSING YOURSELF IS A WAY TO STAY HONEST

CONFUSING YOURSELF IS A WAY TO STAY HONEST

CONFUSING YOURSELF IS A WAY TO STAY HONEST

in newtonian reality, two objects cannot occupy the same space at the same time – and if they do, we call this an ‘accident’. however, sometimes the very fact of accident, error, mistake, failure or glitch may establish a certain kind of freedom, a certain kind of new knowledge, practice, engagement.

in newtonian reality, two objects cannot occupy the same space at the same time – and if they do, we call this an ‘accident’. however, sometimes the very fact of accident, error, mistake, failure or glitch may establish a certain kind of freedom, a certain kind of new knowledge, practice, engagement.

in newtonian reality, two objects cannot occupy the same space at the same time – and if they do, we call this an ‘accident’. however, sometimes the very fact of accident, error, mistake, failure or glitch may establish a certain kind of freedom, a certain kind of new knowledge, practice, engagement.

The oyster, the size of an average rock, is rougher in appearance, less uniform in color, brilliantly pale. It's a world obstinately closed-off. However, you can open it: to do so, you have to cup it in a rag, and employ a dull, perforated blade, and go at it several times. In doing so, curious fingers get cut, nails broken: it's a dirty job. The blows you rain down upon it mark the casing with white rings, like halos.

Inside you find a whole world, to eat and drink: under a firmament (to be precise) of nacre, heavens above give way to heavens below, to create no more than a puddle, an oily olive-tinged squelch, that ebbs and flows, the smell and the sight, fringed along the edges in black lace.

On very rare occasions, scree collects [a formula pearls] in its lustrous throat. Those who find this immediately decorate themselves with it.

The oyster, the size of an average rock, is rougher in appearance, less uniform in color, brilliantly pale. It's a world obstinately closed-off. However, you can open it: to do so, you have to cup it in a rag, and employ a dull, perforated blade, and go at it several times. In doing so, curious fingers get cut, nails broken: it's a dirty job. The blows you rain down upon it mark the casing with white rings, like halos.

Inside you find a whole world, to eat and drink: under a firmament (to be precise) of nacre, heavens above give way to heavens below, to create no more than a puddle, an oily olive-tinged squelch, that ebbs and flows, the smell and the sight, fringed along the edges in black lace.

On very rare occasions, scree collects [a formula pearls] in its lustrous throat. Those who find this immediately decorate themselves with it.

The oyster, the size of an average rock, is rougher in appearance, less uniform in color, brilliantly pale. It's a world obstinately closed-off. However, you can open it: to do so, you have to cup it in a rag, and employ a dull, perforated blade, and go at it several times. In doing so, curious fingers get cut, nails broken: it's a dirty job. The blows you rain down upon it mark the casing with white rings, like halos.

Inside you find a whole world, to eat and drink: under a firmament (to be precise) of nacre, heavens above give way to heavens below, to create no more than a puddle, an oily olive-tinged squelch, that ebbs and flows, the smell and the sight, fringed along the edges in black lace.

On very rare occasions, scree collects [a formula pearls] in its lustrous throat. Those who find this immediately decorate themselves with it.

site (n.)
. . . directly from Latin situs "a place, position, situation, location, station; idleness, sloth, inactivity; forgetfulness; the effects of neglect," from past participle of sinere "let, leave alone, permit."

site (n.)
. . . directly from Latin situs "a place, position, situation, location, station; idleness, sloth, inactivity; forgetfulness; the effects of neglect," from past participle of sinere "let, leave alone, permit."

site (n.)
. . . directly from Latin situs "a place, position, situation, location, station; idleness, sloth, inactivity; forgetfulness; the effects of neglect," from past participle of sinere "let, leave alone, permit."

As Arthur Jafa explains: “It has to do with a certain kind of contextual dissonance. When you place a thing in a context that didn’t generate it, there’s a weird slippage or dissonance that happens, a certain movement.” This results in Jafa managing “to worry the note,” as he expresses it, and in doing so achieve “affective proximity.” The invisible becomes visible.

As Arthur Jafa explains: “It has to do with a certain kind of contextual dissonance. When you place a thing in a context that didn’t generate it, there’s a weird slippage or dissonance that happens, a certain movement.” This results in Jafa managing “to worry the note,” as he expresses it, and in doing so achieve “affective proximity.” The invisible becomes visible.

As Arthur Jafa explains: “It has to do with a certain kind of contextual dissonance. When you place a thing in a context that didn’t generate it, there’s a weird slippage or dissonance that happens, a certain movement.” This results in Jafa managing “to worry the note,” as he expresses it, and in doing so achieve “affective proximity.” The invisible becomes visible.

At birth, we emerge from dream soup. At death, we sink back into dream soup. In between soups, there is a crossing of dry land. Life is a portage.

At birth, we emerge from dream soup. At death, we sink back into dream soup. In between soups, there is a crossing of dry land. Life is a portage.

At birth, we emerge from dream soup. At death, we sink back into dream soup. In between soups, there is a crossing of dry land. Life is a portage.