how the curved wood of the bow is in sync with the fibers of her muscles. All those straight and curved lines,
along with the soft arc of her thick belly, are also drawn by the sun as her shadow stretches on the sand. She
launches the arrow. The arrow itself could be seen as a vector-wave-movement. She also feels how rays of sun
project her transformed theshape of her shadow on the sand, following another straight line. She looks more closely
project her transformed shape of her shadow on the sand, following another straight line. She looks more closely
at the border of the shadow, and sees the very moment where some grains of sand get lightened by the sun, like
many corpuscules-pixels-bitmap, envisioning in simultaneously the two main components of digital images, and
t two ways of describing tangible matter.
...
...
@@ -95,7 +95,7 @@
relations with vectors, we can trace back histories of writing that depended on the body and its movement.
</p>
<p>
<spanclass="name">Ludi Page 4 deals with curves and the simplest application of them : circles. Three</span>The body has its own intelligence. When I put, for example, the tension of the curve into this awkward
<spanclass="name">Ludi The body has its own intelligence. When I put, for example, the tension of the curve into this awkward
body, some aspects of the digital practice become apparent in a way that I can't put the finger on, but I feel
that only the body can detect.
</p>
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...
@@ -126,7 +126,7 @@
</p>
<p>
<spanclass="name">Ludi</span> We slowed the rendering process down so much in order to look into the process it facilitates. Maybe
that's what killedocumentationd the poetry?
that's what killed the poetry?
</p>
<p>
<spanclass="name">Adva</span> I find poetry in the fact that we sometimes look at those technical processes through the perspective
