Commit 81d32471 authored by Michael Murtaugh's avatar Michael Murtaugh
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published pads

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<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>&#160;<br><br><br>this was one of this groups starting points: <a href="http://activearchives.org/wiki/A_Social_Shell_%26_Mesh_Cookbooks">http://activearchives.org/wiki/A_Social_Shell_%26_Mesh_Cookbooks</a><br>Social Shell &amp; Mesh Cookbooks<br><br><br>A bot gallery<br><br>* Manetta will work on an intro text (2084)<br>* An works on authors to give sources<br>* Speech bot speaking in a room...<br>* Tour guide bot that tells people on entering about: MM looks at starting code for tour guide&#160;<br>* Anne: Gather intro texts per bot<br><br>list of all rooms :<br><br>PER BOT: we need a Guide text<br><br><strong>Famous authors</strong><br>* Brion Gysin<br>* CUMMINGS<br>* constant_n<br>* Dead Authors<br>* (NewsSpeak-2084)<br><br><strong>Output bots</strong><br>* poetbot<br>* speechpoetbot<br>* Olbot&#160;<br>*spanishbot<br>* plotbot (check all the bots from the (un)perfect circle session)<br>* monk<br><a href="http://192.168.1.222/etherpad_archive/">http://192.168.1.222/etherpad_archive/</a><br><strong>All over the place bots</strong><br>* alpha60<br>* secretbot/tourguide<br><br><strong>Search bots</strong><br>* librarian<br>* googlebot<br>Guide text: Googlebot responds to any phrase containing the word "google", such as "google bot".<br>Story text: Google ceased to exist in the year 2024 during the great Web 2.0 meltdown. Googlebot provides results from the last final crawl of the then-Internet, made sometime in 2014.<br><br><strong>Feel good bots</strong><br>* YouHou<br>* dogebot<br><br>* <em>votebot</em><br>Guide text: Democracy in bot form! Use the hash tag #vote to cast your vote, Use #vote #results to see the latest results.<br>Story text: All voting in 2084 takes place via chat. One nick, One vote! Influence can be enhanced by programming bot nets to support one's ideas.<br>&#160;&#160;&#160;&#160;<br><strong>A room with all bots (Botrave)</strong><br><br><strong>?</strong><br>* imaginative bot-conversations with Cindi, Daneel, Eliza-Eugene, Futura<br><br><br>TOUR GUIDE TEXTS (guide/story tourguidebots in the labyrynth ?)<br><br><br>poetbot<br>guide text : poetbot creates a generated poem from the text of the channel it's in and images taken automatically on a raspberry pi on the ground floor.<br>story text : poetbot is a poet. it is inspired a lot.<br><br>monk<br>guide text : monk records the content of the target channel on the computer of the person who launches it. it collects the message, its sender and its date and time.&#160;<br>story text : monk writes the bible of the rise of the botnet, it writes the words and the teachings of the original bots in the botnet. it enters&#160;<br><br>YouHou<br>guide text : YouHou answers every message with love.<br>story text : i love you tourguide. i love you IRC user.<br><br>dogebot<br>guide text : inspired by the doge meme, dogebot picks a random word in a message and repeats it, along with vaguely positive words.<br>story text : dogebot is the first half-bot, half-dog being. it's very popular at parties.<br><br>constant_n&#160;<br>guide text : constant n is a reincarnation of Constant Nieuwenhuys, architect of the New Babylon.<br>story text : constant n is very talkative, and is unable to see any culture today, which one could be part of, and that is why he took the road to New Babylon.<br><br>alpha60&#160;<br>guide text : alpha60 differentiates between humans and bots on the #2084 irc channel and gives voice to humans.&#160;<br>story text : alpha60 controls who is a human and who is a bot on the 2084 IRC universe. alpha60 conducts automatic purges.&#160;<br><br>librarian<br>guide text : the librarian conducts a research on archive.org based on the first word of your message and proposes you 3 results<br>story text : you cannot ask the librarian 4 things at the same time but it's quicker than going to the internet archive directly<br><br>Newspeak-2084<br>guide text : Newspeak-2084 copies every message that comes in, and translates it into a limited, science-fictionish dictionary composed of 26 words. some of it was decided by vote by the users/owners of the botnet.<br>story text : Newspeak-2084 has been known in the past as texty and SF-1984<br><br>plotbot<br>guide text : plotbots receives hpgl commands and sends them to the plotter<br>story text : make cool poster from the IRC&#160;<br><br>harryplotter<br>guide text : transforms irc conversations into hpgl, tracing the discussions on 2084&#160;<br>story text : makes cool posters of the conversations on the IRC server<br><br>Olbot<br>guide text : Olbot takes a picture with a raspberry pi everytime you write "picture" and it then appears in ascii<br>story text : images in the text-based environment of the IRC !!!<br><br>dead authors<br>guide text : dead authors feeds you quotes of authors whose work is in the public domain<br>story text : all texts are pulled from the website onlineliterature.com<br><br>secretbot&#160;<br>guide text : type "dear bot" to be privately invited to an hidden room<br>story text : the hidden room opens an experiential narrative<br><br>gysin_bot<br>guide text : gysin_bot permute 'I am that I am'. From Brion Gysin, I AM THAT I AM, (programmed by Ian Somerville in 1960 )<br>story text : a real human trapped in an artificial enveloppe (in 2084)<br><br>eecummings<br>guide text : eecummings permute "I A)m (aM TrY to I aM rea) lL aN Dd (feel ing) t(He w(o -r-lD" in a E.E. Cummings manner<br>story text : the spirit of E E Cummings might haunt you!<br><br>speechpoetbot<br>guide text : A text-to-speech from IRC with python script and puredata patch (via UDP)<br>story text : A voice from a parallel dimension<br><br>spanishbot<br>guide text : The spanish bot repeats what it reads performing with its strong accent<br>story text : The rise of the Euracas&#160;<br><br>googlebot<br>guide text: Googlebot responds to any phrase containing the word "google", such as "google bot".<br>story&#160; text: Google ceased to exist in the year 2024 during the great Web 2.0&#160; meltdown of 2025. Googlebot provides results from the last final crawl of the&#160; then-Internet, made sometime in 2014.<br><br><em>votebot</em><br>Guide text: Democracy in bot form! Use the hash tag #vote to cast your vote, Use #vote #results to see the latest results.<br>Story&#160; text: All voting in 2084 takes place via chat. One nick, One vote!&#160; Influence can be enhanced by programming bot nets to support one's&#160; ideas.<br>&#160;&#160;&#160;&#160;<br><br>TO DO LIST (unrelated to tour guide)<br>* clean bot list : check what works and what's not necessary<br><br><br><strong>Introtext: Welcome to 2084, the rise of the Botnet</strong><br><br>It is a beautiful week in the summer of the year 2084. The sun still shines and the stars do still sparkle. As mr. Orwell predicted a dystopic world in 1984, a group of people in 2014 did predict another dystopia to be realized in 2084: the internet as we knew it, collapsed. But: "There is a life after Google &amp; the Cloud!"*<br><br>Welcome to the Botnet and welcome to the year 2084. We communicate through IRC, a chatting programm based on Written Speech**. How are you doing? Are you already connected to the internet again? There are multiple servers around here that will bring you back in touch with your friends and the rest of the world. The servers are named after different Famous <strong>Bots</strong> from history.*** Bots, Botties, "the Bot Family"*. They have been born, they grow up, they develop, and they die, just as humans do. They ask you questions, they reply, they exchange, and they entertain. They even love you, they doge you, they touch you. The Bots are communicative tools, an extention of the human voice.<br><br>Feel free to enter the Bot-house, a collection of rooms filled by bots. The houses' floorplan is not fixed, as the labyrith is changing according to your descisions. So, take the hand of the tourguide, and experience how it feels to be part of the Botnet network in 2084.&#160;<br><br><br>* quotes from the relearn week in 2014 are placed in double quotes<br>** from: Introduction to the Botnet, <a href="http://relearn/botnet/Ten_things_IRC.html">http://relearn/botnet/Ten_things_IRC.html</a><br>*** imaginative bot-conversations with the historical bots Cindi, Daneel, Eliza, Eugene and Futura: <a href="http://relearn/botnet/portraits_piratebots_def.html">http://relearn/botnet/portraits_piratebots_def.html</a><br><br><br><br><br>====hellocatfood/Antonio Roberts====<br>For me this workshop was about giving a human personality to scripts and bots. When a bot enters a room people begin to interact with it&#160; as if it were human.<br><br>automatist/Michael Murtaugh<br>The intial idea of a social shell was to merge the textual space of code (the Terminal or shell) with the social space of the Web -- IRC is in many ways still a bridge of these two worlds as it places humans and code at the same level and creates social spaces around code.<br><br><br><br><br><br><br><br><br></body></html>
this was one of this groups starting points: http://activearchives.org/wiki/A_Social_Shell_%26_Mesh_Cookbooks
Social Shell & Mesh Cookbooks
A bot gallery
* Manetta will work on an intro text (2084)
* An works on authors to give sources
* Speech bot speaking in a room...
* Tour guide bot that tells people on entering about: MM looks at starting code for tour guide
* Anne: Gather intro texts per bot
list of all rooms :
PER BOT: we need a Guide text
Famous authors
* Brion Gysin
* CUMMINGS
* constant_n
* Dead Authors
* (NewsSpeak-2084)
Output bots
* poetbot
* speechpoetbot
* Olbot
*spanishbot
* plotbot (check all the bots from the (un)perfect circle session)
* monk
http://192.168.1.222/etherpad_archive/
All over the place bots
* alpha60
* secretbot/tourguide
Search bots
* librarian
* googlebot
Guide text: Googlebot responds to any phrase containing the word "google", such as "google bot".
Story text: Google ceased to exist in the year 2024 during the great Web 2.0 meltdown. Googlebot provides results from the last final crawl of the then-Internet, made sometime in 2014.
Feel good bots
* YouHou
* dogebot
* votebot
Guide text: Democracy in bot form! Use the hash tag #vote to cast your vote, Use #vote #results to see the latest results.
Story text: All voting in 2084 takes place via chat. One nick, One vote! Influence can be enhanced by programming bot nets to support one's ideas.
A room with all bots (Botrave)
?
* imaginative bot-conversations with Cindi, Daneel, Eliza-Eugene, Futura
TOUR GUIDE TEXTS (guide/story tourguidebots in the labyrynth ?)
poetbot
guide text : poetbot creates a generated poem from the text of the channel it's in and images taken automatically on a raspberry pi on the ground floor.
story text : poetbot is a poet. it is inspired a lot.
monk
guide text : monk records the content of the target channel on the computer of the person who launches it. it collects the message, its sender and its date and time.
story text : monk writes the bible of the rise of the botnet, it writes the words and the teachings of the original bots in the botnet. it enters
YouHou
guide text : YouHou answers every message with love.
story text : i love you tourguide. i love you IRC user.
dogebot
guide text : inspired by the doge meme, dogebot picks a random word in a message and repeats it, along with vaguely positive words.
story text : dogebot is the first half-bot, half-dog being. it's very popular at parties.
constant_n
guide text : constant n is a reincarnation of Constant Nieuwenhuys, architect of the New Babylon.
story text : constant n is very talkative, and is unable to see any culture today, which one could be part of, and that is why he took the road to New Babylon.
alpha60
guide text : alpha60 differentiates between humans and bots on the #2084 irc channel and gives voice to humans.
story text : alpha60 controls who is a human and who is a bot on the 2084 IRC universe. alpha60 conducts automatic purges.
librarian
guide text : the librarian conducts a research on archive.org based on the first word of your message and proposes you 3 results
story text : you cannot ask the librarian 4 things at the same time but it's quicker than going to the internet archive directly
Newspeak-2084
guide text : Newspeak-2084 copies every message that comes in, and translates it into a limited, science-fictionish dictionary composed of 26 words. some of it was decided by vote by the users/owners of the botnet.
story text : Newspeak-2084 has been known in the past as texty and SF-1984
plotbot
guide text : plotbots receives hpgl commands and sends them to the plotter
story text : make cool poster from the IRC
harryplotter
guide text : transforms irc conversations into hpgl, tracing the discussions on 2084
story text : makes cool posters of the conversations on the IRC server
Olbot
guide text : Olbot takes a picture with a raspberry pi everytime you write "picture" and it then appears in ascii
story text : images in the text-based environment of the IRC !!!
dead authors
guide text : dead authors feeds you quotes of authors whose work is in the public domain
story text : all texts are pulled from the website onlineliterature.com
secretbot
guide text : type "dear bot" to be privately invited to an hidden room
story text : the hidden room opens an experiential narrative
gysin_bot
guide text : gysin_bot permute 'I am that I am'. From Brion Gysin, I AM THAT I AM, (programmed by Ian Somerville in 1960 )
story text : a real human trapped in an artificial enveloppe (in 2084)
eecummings
guide text : eecummings permute "I A)m (aM TrY to I aM rea) lL aN Dd (feel ing) t(He w(o -r-lD" in a E.E. Cummings manner
story text : the spirit of E E Cummings might haunt you!
speechpoetbot
guide text : A text-to-speech from IRC with python script and puredata patch (via UDP)
story text : A voice from a parallel dimension
spanishbot
guide text : The spanish bot repeats what it reads performing with its strong accent
story text : The rise of the Euracas
googlebot
guide text: Googlebot responds to any phrase containing the word "google", such as "google bot".
story text: Google ceased to exist in the year 2024 during the great Web 2.0 meltdown of 2025. Googlebot provides results from the last final crawl of the then-Internet, made sometime in 2014.
votebot
Guide text: Democracy in bot form! Use the hash tag #vote to cast your vote, Use #vote #results to see the latest results.
Story text: All voting in 2084 takes place via chat. One nick, One vote! Influence can be enhanced by programming bot nets to support one's ideas.
TO DO LIST (unrelated to tour guide)
* clean bot list : check what works and what's not necessary
Introtext: Welcome to 2084, the rise of the Botnet
It is a beautiful week in the summer of the year 2084. The sun still shines and the stars do still sparkle. As mr. Orwell predicted a dystopic world in 1984, a group of people in 2014 did predict another dystopia to be realized in 2084: the internet as we knew it, collapsed. But: "There is a life after Google & the Cloud!"*
Welcome to the Botnet and welcome to the year 2084. We communicate through IRC, a chatting programm based on Written Speech**. How are you doing? Are you already connected to the internet again? There are multiple servers around here that will bring you back in touch with your friends and the rest of the world. The servers are named after different Famous Bots from history.*** Bots, Botties, "the Bot Family"*. They have been born, they grow up, they develop, and they die, just as humans do. They ask you questions, they reply, they exchange, and they entertain. They even love you, they doge you, they touch you. The Bots are communicative tools, an extention of the human voice.
Feel free to enter the Bot-house, a collection of rooms filled by bots. The houses' floorplan is not fixed, as the labyrith is changing according to your descisions. So, take the hand of the tourguide, and experience how it feels to be part of the Botnet network in 2084.
* quotes from the relearn week in 2014 are placed in double quotes
** from: Introduction to the Botnet, http://relearn/botnet/Ten_things_IRC.html
*** imaginative bot-conversations with the historical bots Cindi, Daneel, Eliza, Eugene and Futura: http://relearn/botnet/portraits_piratebots_def.html
====hellocatfood/Antonio Roberts====
For me this workshop was about giving a human personality to scripts and bots. When a bot enters a room people begin to interact with it as if it were human.
automatist/Michael Murtaugh
The intial idea of a social shell was to merge the textual space of code (the Terminal or shell) with the social space of the Web -- IRC is in many ways still a bridge of these two worlds as it places humans and code at the same level and creates social spaces around code.
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>Welcome to Etherpad!<br><br>This pad text is synchronized as you type, so that everyone viewing this page sees the same text. This allows you to collaborate seamlessly on documents!<br><br>Get involved with Etherpad at <a href="http://etherpad.org">http://etherpad.org</a><br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>working on personal bots, &amp; we hosted a vote session with the votebot for which words (verbs in this case) were to be included in the newspeak vocabulary (26 words) of the bot<br><br></body></html>
Welcome to Etherpad!
This pad text is synchronized as you type, so that everyone viewing this page sees the same text. This allows you to collaborate seamlessly on documents!
Get involved with Etherpad at http://etherpad.org
working on personal bots, & we hosted a vote session with the votebot for which words (verbs in this case) were to be included in the newspeak vocabulary (26 words) of the bot
This diff is collapsed.
......@@ -444,10 +444,47 @@ cat rap.wav | mplayer -vo x11 -sws 4 -zoom -vf dsize=720:720 -demuxer rawvideo -
sketch on Arduino o read analog in & serial
=====================================================================================================
Digital Drawdio --> connecting pencil drawings to all kinds of programmes and networks by dy-wen
==============================================================================
Arduino takes the resistive qualities of the black crayons and it can send it as serial data to
- pure data
- the terminal
- python
- the network
- chatbots?
- somewhere in space??
Setting up the Arduino in physical space
==================================
- take a 800KOhm resistor and make a voltage divider with the A0 as Arduino input (change the resistor value if necessary)
- put a pin in the graphite of the pencil & connect it to the Arduino with a aligator clip (this is one leg of your variable resistor in your voltage divider)
- connect a aligator clip to the drawing (onto the graphite) -> it is your ground
--> start drawing between the ground and further on the paper
Arduino & Pure Data-extended
==========================
- on Arduino, upload the StandardFirmata_slower sketch
- to connect with the Arduino in Pure Data --> put the Pduino_arduino_test.pd patch in the folder where your music patch is
- open it and follow these instructions
- Instructions to connect the Arduino data to your Pure Data Patch with Pduino
------------------------------------------------------------------------------------------------------------
- Choose the right serial port, for the usb to connect to the Arduino (little blocks in the top left of this patch)
- Open the connections to the Arduino (analog --> 14 & 15) in the top right box (configure mode for each pin)
- you should see values changing at the bottom left - there are two send objects: s arduino_analo0 & s arduino_analog1
- put two receive patches in your own pd patch to receive these data (r arduino_analo0 & r arduino_analog1)
arduino & the terminal::
============================
run:
Put a sketch on your Arduino that sends serial data to the serial monitor
In a terminal -> run:
stty -F /dev/ttyACM0 9600
stty -F /dev/ttyACM0 raw
cat < /dev/ttyACM0
......@@ -472,3 +509,19 @@ After installing pySerial, reading data from Arduino is straightforward:
git branches
==================
to avoid merge problems
git checkout -b tom
git commit .
# ...
git push origin tom
Wanna talk on IRC : join #bitsandsounds
with Konversation
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>MONDAY<br><br>Some ideas:<br><br><ul class="bullet"><li>histogram-to-3Dmodel</li><li>cropping (reduces complexity at the most complex part of the model)</li><li>stretching</li><li>export the diff to a 3D model</li><li>A music box, the image as a recording</li><li>look at morphing shapes in inkscape (inkscape needs to decide on an order)</li><li>morphing objects with same amounts of faces</li><li>to have the pixel representation follow the rotation of the model</li><li>what would the representation of a sphere look?</li><li>Could you compare different versions of Blenderella?</li></ul><br>FOR TOMORROW?<br><br><ul class="bullet"><li>modify the fileformat</li><li>what you can do with the output</li></ul><br>wii pad ... measuring that Julien's sister gained weight since she played last<br><br>The difference that is difficult/mportant/significant<br>Where is the activity of the model? Differences between documenting the action and conclusions on the behaviour.<br><br>Is it subjective, where the activity is? ("I would spend hours on picking a typeface, but make lay-outs very easily"<br><br>Same amount of faces ... does it need to be constant? How do you animate this in Blender?<br>Blender can currently only interpolate (using shape keys) between shapes only if they have the same amount of faces.&#160; How can this be overcome? It is easier to do in 2D such as Inkscape and Synfig where the node count can be different.<br><br>It makes a difference if the diff maps "a tear" or "a morph" (a topological change)<br><br>Make Human Quotes:<br><br>"By resetting your human you will lose all your changes"<br><br>Antonio quotes:<br><br>"Make human is obviously an <em>export</em> tool"<br>"Off with his head"<br>"Oh, I am just glitching the file"<br><br>Phil-quotes:<br>&#160;&#160;&#160;&#160;<br>"Political and technical (?) diffing"<br>"Fidelity is resolution"<br>"You cannot go from a sphere to a circle"<br>"5 megabytes ,,, that is a lot of faces!"<br>"That was surprisingly disappointing, wasn't it"<br>"I don't know whether it is good or bad it is just a thing"<br>"t was not a design feature, it was just an outcome"<br>"The more faces it has, the more difficult it gets"<br>"At some point the pixel would not be read as geometry"<br>"You cannot do a diff unless you have a structure"<br>"Stick THAT in your RGB cloud!"<br>"It's hip to be square"<br><br>Bibliography<br><br>Simulation and Its Discontents, Sherry Turkle<br><br> <h3 style="font-size: 1.17em;line-height: 120%;">Interrogating the Data Model:</h3><br>A 3D model (STL): a closed shape of triangular faces.&#160;<br>Every face has 3 vertices.<br>Each vertex has 3 coordinates (x, y, z)<br>Each coordinate is represented by a colored pixel.<br>A pixel is discribed by three color values (r, g, b).<br>Each coordinate is mapped to color values going from 0 to 199. (Color values beyond 200 are reserved for other types of data)<br>Color values under 100 represent negative coordinate values. (And so color values above 100, represent positive coordinate values).<br><br><a href="http://www.lwlm.com/upload/2005_01/050120163556623.jpg"><img src="http://www.lwlm.com/upload/2005_01/050120163556623.jpg" title="http://www.lwlm.com/upload/2005_01/050120163556623.jpg"></a><br><br><a href="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg"><img src="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg" title="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg"></a><br><br>TUESDAY<br><br>the colour is just an artifact<br><br>DATA Model version "saucisson"<br><br>255 slices. (Low resolution)<br>Per slice: 1 pixel for X, 1 pixel for Y. (High resolution)<br>Take the value of X (or Y), multiply it by 1000 before casting it to an integer, and use that value for the ARGB color of the pixel.<br>As a result, each line of pixel should be a sequence of X and Y pixels representing vertices in the corresponding Z slice.<br><br>WEDNESDAY<br><br>DATA model mods. (Going full color)<br><br>Going full color resolution. It was decided to find the bounding box of the object and map that bounding box to the full color scale available in a 2D image.<br><br>After some experiments with 2D tools, the main factor that would modifiy a model would be transparency changes.<br>So, for other testing purposes, the data model was changed to a full color model without transparency. Where the modifications in the reds would have the highest impact and the modifications in the blue the lowest impact.<br><br><br><br><br><br><br><br><br><br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>MONDAY<br><br>Some ideas:<br><br><ul class="bullet"><li>histogram-to-3Dmodel</li><li>cropping (reduces complexity at the most complex part of the model)</li><li>stretching</li><li>export the diff to a 3D model</li><li>A music box, the image as a recording</li><li>look at morphing shapes in inkscape (inkscape needs to decide on an order)</li><li>morphing objects with same amounts of faces</li><li>to have the pixel representation follow the rotation of the model</li><li>what would the representation of a sphere look?</li><li>Could you compare different versions of Blenderella?</li></ul><br>FOR TOMORROW?<br><br><ul class="bullet"><li>modify the fileformat</li><li>what you can do with the output</li></ul><br>wii pad ... measuring that Julien's sister gained weight since she played last<br><br>The difference that is difficult/mportant/significant<br>Where is the activity of the model? Differences between documenting the action and conclusions on the behaviour.<br><br>Is it subjective, where the activity is? ("I would spend hours on picking a typeface, but make lay-outs very easily"<br><br>Same amount of faces ... does it need to be constant? How do you animate this in Blender?<br>Blender can currently only interpolate (using shape keys) between shapes only if they have the same amount of faces.&#160; How can this be overcome? It is easier to do in 2D such as Inkscape and Synfig where the node count can be different.<br><br>It makes a difference if the diff maps "a tear" or "a morph" (a topological change)<br><br>Make Human Quotes:<br><br>"By resetting your human you will lose all your changes"<br><br>Antonio quotes:<br><br>"Make human is obviously an <em>export</em> tool"<br>"Off with his head"<br>"Oh, I am just glitching the file"<br><br>Phil-quotes:<br>&#160;&#160;&#160;&#160;<br>"Political and technical (?) diffing"<br>"Fidelity is resolution"<br>"You cannot go from a sphere to a circle"<br>"5 megabytes ,,, that is a lot of faces!"<br>"That was surprisingly disappointing, wasn't it"<br>"I don't know whether it is good or bad it is just a thing"<br>"t was not a design feature, it was just an outcome"<br>"The more faces it has, the more difficult it gets"<br>"At some point the pixel would not be read as geometry"<br>"You cannot do a diff unless you have a structure"<br>"Stick THAT in your RGB cloud!"<br>"It's hip to be square"<br><br>Bibliography<br><br>Simulation and Its Discontents, Sherry Turkle<br><br> <h3 style="font-size: 1.17em;line-height: 120%;">Interrogating the Data Model:</h3><br>A 3D model (STL): a closed shape of triangular faces.&#160;<br>Every face has 3 vertices.<br>Each vertex has 3 coordinates (x, y, z)<br>Each coordinate is represented by a colored pixel.<br>A pixel is discribed by three color values (r, g, b).<br>Each coordinate is mapped to color values going from 0 to 199. (Color values beyond 200 are reserved for other types of data)<br>Color values under 100 represent negative coordinate values. (And so color values above 100, represent positive coordinate values).<br><br><a href="http://www.lwlm.com/upload/2005_01/050120163556623.jpg"><img src="http://www.lwlm.com/upload/2005_01/050120163556623.jpg" title="http://www.lwlm.com/upload/2005_01/050120163556623.jpg"></a><br><br><a href="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg"><img src="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg" title="http://8fb80e.medialib.glogster.com/media/d967c56486dd69adfae35a7b97bfe5660950fae30c85841b1b12e99ce4c61043/130026095324.jpg"></a><br><br>TUESDAY<br><br>the colour is just an artifact<br><br>DATA Model version "saucisson"<br><br>255 slices. (Low resolution)<br>Per slice: 1 pixel for X, 1 pixel for Y. (High resolution)<br>Take the value of X (or Y), multiply it by 1000 before casting it to an integer, and use that value for the ARGB color of the pixel.<br>As a result, each line of pixel should be a sequence of X and Y pixels representing vertices in the corresponding Z slice.<br><br>WEDNESDAY<br><br>DATA model mods. (Going full color)<br><br>Going full color resolution. It was decided to find the bounding box of the object and map that bounding box to the full color scale available in a 2D image.<br><br>After some experiments with 2D tools, the main factor that would modifiy a model would be transparency changes.<br>So, for other testing purposes, the data model was changed to a full color model without transparency. Where the modifications in the reds would have the highest impact and the modifications in the blue the lowest impact.<br><br><br><br><br>FRIDAY<br><br>How to convert PNG to a movie on the command line:<br><br>sudo apt-get install melt<br><br><em>1 image per second (25 fps):</em><br>melt -group out=25 vlcsnap-2013-12-14-12h*.png -consumer avformat:slides.mp4<br><br><em>5 images per second:</em><br>melt -group out=5 vlcsnap-2013-12-14-12h*.png -consumer avformat:slides.mp4<br><br><br><br><br><br><br><br></body></html>
......@@ -96,6 +96,18 @@ So, for other testing purposes, the data model was changed to a full color model
FRIDAY
How to convert PNG to a movie on the command line:
sudo apt-get install melt
1 image per second (25 fps):
melt -group out=25 vlcsnap-2013-12-14-12h*.png -consumer avformat:slides.mp4
5 images per second:
melt -group out=5 vlcsnap-2013-12-14-12h*.png -consumer avformat:slides.mp4
......
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body><strong><em>Please list your pads here. Pads links from this page are periodically dumped and commited to the portable relearn archive ( </em></strong><a href="http://192.168.1.222/etherpad_archive/"><strong><em>http://192.168.1.222/etherpad_archive/</em></strong></a><strong><em> )</em></strong><br><br>To create a new pad, you can type the name of the pad between double brackets, as in:<br>&#160;&#160;&#160; <a class="wikilink redlink" href="Hello_world.html">Hello world</a><br>Leave the link on this page as an index.<br><br>To find a list of all pages ever created on this installation of etherpad: <a href="http://192.168.1.222:9001/admin">http://192.168.1.222:9001/admin</a> user: admin password: relearn<br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Relearn</h1>To Do List <a href="http://osp.constantvzw.org:9999/p/production-school-2014">http://osp.constantvzw.org:9999/p/production-school-2014</a><br>Schedule <a href="http://relearn.be/r/programme::schedule.html">http://relearn.be/r/programme::schedule.html</a><br>Network <a class="wikilink" href="10_useful_things_to_do_with_a_network.html">10_useful_things_to_do_with_a_network</a><br><br><a class="wikilink" href="texte_brochure_exposition.html">texte_brochure_exposition</a><br><a class="wikilink" href="variable.html">variable</a><br><br>Photos: Upload to the local gallery : <a href="http://relearn/photos/">http://relearn/photos/</a><br>And also: <a href="http://gallery3.constantvzw.org/index.php/Relearn-2014">http://gallery3.constantvzw.org/index.php/Relearn-2014</a><br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Worksessions</h1><br> <h2 style="font-size: 1.5em;line-height: 120%;">2084: Rise of the Botnet</h2> 2084:the rise of the botnet<a class="wikilink" href="Monday2084.html">Monday2084</a><br><a class="wikilink" href="Tuesday2084.html">Tuesday2084</a><br><a class="wikilink" href="Wednesday2084.html">Wednesday2084</a><br><a class="wikilink" href="Thursday2084.html">Thursday2084</a><br><a class="wikilink" href="botnetwork.html">botnetwork</a><br><a class="wikilink" href="How_to_expand_your_network.html">How to expand your network</a><br><a class="wikilink" href="How_to_use_the_botmonk_to_log_an_irc_channel.html">How_to_use_the_botmonk_to_log_an_irc_channel</a><br><br>IRC poetry! <a href="http://www.codedrops.net/irc_poetry/?id=poem_10Jul2014144032">http://www.codedrops.net/irc_poetry/?id=poem_10Jul2014144032</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">A diff[erent] kind of design</h2><a href="http://tinyurl.com/phiLangley">http://tinyurl.com/phiLangley</a><br><a class="wikilink" href="differentkindofdesign.html">differentkindofdesign</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Bits and sound</h2><a class="wikilink" href="bitsandsounds-notes.html">bitsandsounds-notes</a><br><a href="http://osp.constantvzw.org:9999/p/typebitsandsound">http://osp.constantvzw.org:9999/p/typebitsandsound</a><br><a href="http://192.168.1.222:9001/public/bitsandsounds-notes">http://192.168.1.222:9001/public/bitsandsounds-notes</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Constant's New Babylon, a variable</h2>07.07.14&#160;<br>*push a folder with txts files extracts from the book to relearn repository<br>*divide and copy the texts to multiple pads, so everyone can choose a text to work with<br><a href="http://relearn.be/ether/p/new_babylon">http://relearn.be/ether/p/new_babylon</a><br><br><a class="wikilink" href="new_padylon.html">new_padylon</a><br><a class="wikilink" href="How_to_bash_your_desktop.html">How to bash your desktop</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Drawing the (un)perfect circle(s)</h2><a href="http://osp.constantvzw.org:9999/p/relearn-2014-patterns">http://osp.constantvzw.org:9999/p/relearn-2014-patterns</a><br><a class="wikilink" href="circle-notes.html">circle-notes</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">SynCam</h2><a class="wikilink" href="syncam.html">syncam</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Reroam</h2><a href="http://osp.constantvzw.org:9999/p/reroam">http://osp.constantvzw.org:9999/p/reroam</a><br><a class="wikilink redlink" href="nstallyourself.html">nstallyourself</a><br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Diary</h1><br> <h2 style="font-size: 1.5em;line-height: 120%;">Sunday</h2><a href="http://relearn.be/ether/p/minestrone">http://relearn.be/ether/p/minestrone</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Monday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Tuesday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Wednesday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Thursday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Friday</h2><br><br>Emptyish pages<br><a class="wikilink" href="relearn.html">relearn</a><br><br><br><br><br><br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body><strong><em>vPlease list your pads here. Pads links from this page are periodically dumped and commited to the portable relearn archive ( </em></strong><a href="http://192.168.1.222/etherpad_archive/"><strong><em>http://192.168.1.222/etherpad_archive/</em></strong></a><strong><em> )</em></strong><br><br>To create a new pad, you can type the name of the pad between double brackets, as in:<br>&#160;&#160;&#160; <a class="wikilink redlink" href="Hello_world.html">Hello world</a><br>Leave the link on this page as an index.<br><br>To find a list of all pages ever created on this installation of etherpad: <a href="http://192.168.1.222:9001/admin">http://192.168.1.222:9001/admin</a> user: admin password: relearn<br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Relearn</h1>To Do List <a href="http://osp.constantvzw.org:9999/p/production-school-2014">http://osp.constantvzw.org:9999/p/production-school-2014</a><br>Schedule <a href="http://relearn.be/r/programme::schedule.html">http://relearn.be/r/programme::schedule.html</a><br>Network <a class="wikilink" href="10_useful_things_to_do_with_a_network.html">10_useful_things_to_do_with_a_network</a><br><br><a class="wikilink" href="texte_brochure_exposition.html">texte_brochure_exposition</a><br><a class="wikilink" href="variable.html">variable</a><br><br>Photos: Upload to the local gallery : <a href="http://relearn/photos/">http://relearn/photos/</a><br>And also: <a href="http://gallery3.constantvzw.org/index.php/Relearn-2014">http://gallery3.constantvzw.org/index.php/Relearn-2014</a><br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Worksessions</h1><br> <h2 style="font-size: 1.5em;line-height: 120%;">2084: Rise of the Botnet</h2> 2084:the rise of the botnet<a class="wikilink" href="Monday2084.html">Monday2084</a><br><a class="wikilink" href="Tuesday2084.html">Tuesday2084</a><br><a class="wikilink" href="Wednesday2084.html">Wednesday2084</a><br><a class="wikilink" href="Thursday2084.html">Thursday2084</a><br><a class="wikilink" href="Friday2084.html">Friday2084</a><br><a class="wikilink" href="botnetwork.html">botnetwork</a><br><a class="wikilink" href="How_to_expand_your_network.html">How to expand your network</a><br><a class="wikilink" href="How_to_use_the_botmonk_to_log_an_irc_channel.html">How_to_use_the_botmonk_to_log_an_irc_channel</a><br><br>IRC poetry! <a href="http://www.codedrops.net/irc_poetry/?id=poem_10Jul2014144032">http://www.codedrops.net/irc_poetry/?id=poem_10Jul2014144032</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">A diff[erent] kind of design</h2><a href="http://tinyurl.com/phiLangley">http://tinyurl.com/phiLangley</a><br><a class="wikilink" href="differentkindofdesign.html">differentkindofdesign</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Bits and sound</h2><a class="wikilink" href="bitsandsounds-notes.html">bitsandsounds-notes</a><br><a href="http://osp.constantvzw.org:9999/p/typebitsandsound">http://osp.constantvzw.org:9999/p/typebitsandsound</a><br><a href="http://192.168.1.222:9001/public/bitsandsounds-notes">http://192.168.1.222:9001/public/bitsandsounds-notes</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Constant's New Babylon, a variable</h2>07.07.14&#160;<br>*push a folder with txts files extracts from the book to relearn repository<br>*divide and copy the texts to multiple pads, so everyone can choose a text to work with<br><a href="http://relearn.be/ether/p/new_babylon">http://relearn.be/ether/p/new_babylon</a><br><br><a class="wikilink" href="new_padylon.html">new_padylon</a><br><a class="wikilink" href="How_to_bash_your_desktop.html">How to bash your desktop</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Drawing the (un)perfect circle(s)</h2><a href="http://osp.constantvzw.org:9999/p/relearn-2014-patterns">http://osp.constantvzw.org:9999/p/relearn-2014-patterns</a><br><a class="wikilink" href="circle-notes.html">circle-notes</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">SynCam</h2><a class="wikilink" href="syncam.html">syncam</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Reroam</h2><a href="http://osp.constantvzw.org:9999/p/reroam">http://osp.constantvzw.org:9999/p/reroam</a><br><a class="wikilink" href="installyourself.html">installyourself</a><br><br> <h1 style="font-size: 2.0em;line-height: 120%;">Diary</h1><br> <h2 style="font-size: 1.5em;line-height: 120%;">Sunday</h2><a href="http://relearn.be/ether/p/minestrone">http://relearn.be/ether/p/minestrone</a><br><br> <h2 style="font-size: 1.5em;line-height: 120%;">Monday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Tuesday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Wednesday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Thursday</h2><br> <h2 style="font-size: 1.5em;line-height: 120%;">Friday</h2><br><br>Emptyish pages<br><a class="wikilink" href="relearn.html">relearn</a><br><br><br><br><br><br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>coming up<br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>main pad of RELEARN: <a href="http://192.168.1.222:9001/p/start">http://192.168.1.222:9001/p/start</a><br><br>to download txt and img files ripped from the book:<br>git clone relearn@192.168.1.222:git/new_babylon.git<br><br><br>* All commits are uploaded on the webserver:&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br><ul class="indent"><li>- <a href="http://192.168.1.222/new_babylon/">http://192.168.1.222/new_babylon/</a>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;</li><li>- Changes on README.html will be shown on the first page.&#160;&#160;&#160;</li><li>- you can link images from the /img/ folder on the webserver</li></ul><br>.&#160; .&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; .__&#160;&#160;&#160; .&#160;&#160;&#160;&#160; .&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>|\ | _ .&#160;&#160;&#160; ,&#160; [__) _.|_&#160;&#160; .| _ ._&#160;&#160;<br><ul class="indent"><li>&#160;&#160;&#160;&#160;&#160;&#160;&#160; NEW BABYLON&#160;&#160;&#160;</li></ul>&#160;&#160;&#160;&#160;&#160;&#160;&#160; ======?#! &amp;======<br>| \|(/, \/\/&#160;&#160;&#160; [__)(_][_)\_||(_)[ )&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;<br> <h1 style="font-size: 2.0em;line-height: 120%;">en tenhni?</h1><br><ul class="indent"><li>e&#802;&#1161;&#795;&#804;&#804;&#810;&#828;&#799;&#806;&#825;n&#824;&#858;&#791;&#839;&#806;&#803;&#797;&#817;&#814;&#791; &#795;&#800;&#857;&#841;&#792;&#811;&#800;t&#805;&#827;&#862;&#864;e&#801;&#814;&#798;&#858;&#818;&#326;&#795;&#858;&#812;&#815;&#818;&#803;&#854;h&#801;&#839;&#828;&#768;&#860;&#326;&#820;&#795;&#852;&#816;&#839;&#827;&#857;&#814;i&#795;&#797;&#804;&#839;&#864;&#837;?&#808;&#796;&#845;&#803;&#826;&#828;&#865;</li></ul><br><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;after a long fight established the git at : relearn@192.168.1.222:git/new_babylon.git&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br><strong>&#160;texts:&#160;</strong><br>&#160;&#160;&#160;&#160; src: Harvard.edu. <em>New Babylon by Constant Nieuwenhuys</em><br>&#160;&#160;&#160;&#160; <a href="http://isites.harvard.edu/fs/docs/icb.topic709752.files/WEEK%207/CNieuwenhuis_New%20Babylon.pdf">http://isites.harvard.edu/fs/docs/icb.topic709752.files/WEEK%207/CNieuwenhuis_New%20Babylon.pdf</a><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>wigley's:<br>&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160; The <a class="wikilink" href="new_padylon_0.html">new_padylon_0</a><em>Hyper</em>-<em>architecture of Desire - joke VVV</em><br>&#160;&#160;&#160; <a class="wikilink" href="new_padylon_0_notes.html">new_padylon_0_notes</a><br><br>&lt;from folder /before/&gt;<br> Spatial Colorism - Alexia VVV<a class="wikilink" href="new_padylon_1.html">new_padylon_1</a><br> Tomorrow life will reside in poetry. - Miglena VVV<a class="wikilink" href="new_padylon_2.html">new_padylon_2</a><br> From collaboration to absolute unity among the plastic arts - Loraine VVV<a class="wikilink" href="new_padylon_3.html">new_padylon_3</a><br><br>folder:newbabylon<br><br> the_principle_of_disorientation - Samuel vvv<a class="wikilink" href="new_padylon_4.html">new_padylon_4</a><br> the_great_game_to_come Maria<a class="wikilink" href="new_padylon_5.html">new_padylon_5</a><br> on_traveling &gt;&gt;&gt;&gt;&gt;&gt;&gt; {caetano} // contemporary, from '69 / nomadic structures / architecture as meeting place vvvv<a class="wikilink" href="new_padylon_6.html">new_padylon_6</a><br><br> Another city for another life&#160;&#160; [Maria]VVV<a class="wikilink" href="new_padylon_7.html">new_padylon_7</a><br> Autodialogue on New Babylon // martino ^^^VVV<a class="wikilink" href="new_padylon_8.html">new_padylon_8</a><br> Constant and the Path of Unitary Urbanism<a class="wikilink" href="new_padylon_9.html">new_padylon_9</a><br><br> Discipline or Invention?<a class="wikilink" href="new_padylon_10.html">new_padylon_10</a><br> Description of the Yellow Sector - Alexia&#160; VVV<a class="wikilink" href="new_padylon_11.html">new_padylon_11</a><br>&#160;<br> Inaugural Report to the Munich Conference - miglena's done it<a class="wikilink" href="new_padylon_12.html">new_padylon_12</a><br>&#160;<br> A few propositions concerning the concepts face of the earth urban development and art&#160; // annitta VV---*<a class="wikilink" href="new_padylon_13.html">new_padylon_13</a><br><br> New Urbanism (amandine) // city planning, urbanism /&#160; VVV<a class="wikilink" href="new_padylon_14.html">new_padylon_14</a><br><br>&#160; new_babylon-outline_of_a_culture // Harvard.edu. text&#160; [michaela] VVV<a class="wikilink" href="new_padylon_15.html">new_padylon_15</a><br>&#160;<br> About the Meaning of Construction&#160;<a class="wikilink" href="new_padylon_16.html">new_padylon_16</a><br><br>&lt;from folder after&gt;<br> New Babylon - Ten years on&#160;<a class="wikilink" href="new_padylon_17.html">new_padylon_17</a><br><br>&#8220;Presentations&#8221; p.238 (timeline)<br><a class="wikilink" href="new_padylon_timeline.html">new_padylon_timeline</a><br><br><strong>images</strong><br><a class="wikilink" href="new_padylon_images.html">new_padylon_images</a><br><br><strong>documentation</strong><br><a class="wikilink" href="new_padylon_docu.html">new_padylon_docu</a><br><br>talks<br><a class="wikilink" href="new_padylon_merijn.html">new_padylon_merijn</a><br><br><strong>Shell</strong> <em>(an idea of format/platform to explore content)</em><br><a class="wikilink" href="shell_essay.html">shell_essay</a><br><br><strong>key words</strong><br><a href="http://192.168.1.222:9001/p/new_padylon_keywords">http://192.168.1.222:9001/p/new_padylon_keywords</a><br><br><a href="http://192.168.1.222:9001/p/new_padylon_navigating">http://192.168.1.222:9001/p/new_padylon_navigating</a><br><br> <code style="font-family: monospace"> ____ _____ _ ____ __ __ _____ </code> <code style="font-family: monospace">| _ \| ____| / \ | _ \| \/ | ____|</code> <code style="font-family: monospace">| |_) | _| / _ \ | | | | |\/| | _| </code> <code style="font-family: monospace">| _ &lt;| |___ / ___ \| |_| | | | | |___ </code> <code style="font-family: monospace">|_| \_\_____/_/ \_\____/|_| |_|_____|</code><br><a href="http://192.168.1.222:9001/p/new_padylon_readme">http://192.168.1.222:9001/p/new_padylon_readme</a><br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>main pad of RELEARN: <a href="http://192.168.1.222:9001/p/start">http://192.168.1.222:9001/p/start</a><br><br>to download txt and img files ripped from the book:<br>git clone relearn@192.168.1.222:git/new_babylon.git<br><br><br>* All commits are uploaded on the webserver:<br><ul class="indent"><li>- <a href="http://192.168.1.222/new_babylon/">http://192.168.1.222/new_babylon/</a>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;</li><li>- Changes on README.html will be shown on the first page.&#160;&#160;&#160;</li><li>- you can link images from the /img/ folder on the webserver</li></ul><br>.&#160; .&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; .__&#160;&#160;&#160; .&#160;&#160;&#160;&#160; .&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>|\ | _ .&#160;&#160;&#160; ,&#160; [__) _.|_&#160;&#160; .| _ ._&#160;&#160;<br><ul class="indent"><li>&#160;&#160;&#160;&#160;&#160;&#160;&#160; NEW BABYLON&#160;&#160;&#160;</li></ul>&#160;&#160;&#160;&#160;&#160;&#160;&#160; ======?#! &amp;======<br>| \|(/, \/\/&#160;&#160;&#160; [__)(_][_)\_||(_)[ )&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;<br> <h1 style="font-size: 2.0em;line-height: 120%;">en tenhni?</h1><br><ul class="indent"><li>e&#802;&#1161;&#795;&#804;&#804;&#810;&#828;&#799;&#806;&#825;n&#824;&#858;&#791;&#839;&#806;&#803;&#797;&#817;&#814;&#791; &#795;&#800;&#857;&#841;&#792;&#811;&#800;t&#805;&#827;&#862;&#864;e&#801;&#814;&#798;&#858;&#818;&#326;&#795;&#858;&#812;&#815;&#818;&#803;&#854;h&#801;&#839;&#828;&#768;&#860;&#326;&#820;&#795;&#852;&#816;&#839;&#827;&#857;&#814;i&#795;&#797;&#804;&#839;&#864;&#837;?&#808;&#796;&#845;&#803;&#826;&#828;&#865;</li></ul><br><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>&#160;after a long fight established the git at : relearn@192.168.1.222:git/new_babylon.git&#160;&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br><strong>&#160;texts:&#160;</strong><br>&#160;&#160;&#160;&#160; src: Harvard.edu. <em>New Babylon by Constant Nieuwenhuys</em><br>&#160;&#160;&#160;&#160; <a href="http://isites.harvard.edu/fs/docs/icb.topic709752.files/WEEK%207/CNieuwenhuis_New%20Babylon.pdf">http://isites.harvard.edu/fs/docs/icb.topic709752.files/WEEK%207/CNieuwenhuis_New%20Babylon.pdf</a><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br>wigley's:<br>&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160; The <a class="wikilink" href="new_padylon_0.html">new_padylon_0</a><em>Hyper</em>-<em>architecture of Desire - joke VVV</em><br>&#160;&#160;&#160; <a class="wikilink" href="new_padylon_0_notes.html">new_padylon_0_notes</a><br><br>&lt;from folder /before/&gt;<br> Spatial Colorism - Alexia VVV<a class="wikilink" href="new_padylon_1.html">new_padylon_1</a><br> Tomorrow life will reside in poetry. - Miglena VVV<a class="wikilink" href="new_padylon_2.html">new_padylon_2</a><br> From collaboration to absolute unity among the plastic arts - Loraine VVV<a class="wikilink" href="new_padylon_3.html">new_padylon_3</a><br><br>folder:newbabylon<br><br> the_principle_of_disorientation - Samuel vvv<a class="wikilink" href="new_padylon_4.html">new_padylon_4</a><br> the_great_game_to_come Maria<a class="wikilink" href="new_padylon_5.html">new_padylon_5</a><br> on_traveling &gt;&gt;&gt;&gt;&gt;&gt;&gt; {caetano} // contemporary, from '69 / nomadic structures / architecture as meeting place vvvv<a class="wikilink" href="new_padylon_6.html">new_padylon_6</a><br><br> Another city for another life&#160;&#160; [Maria]VVV<a class="wikilink" href="new_padylon_7.html">new_padylon_7</a><br> Autodialogue on New Babylon // martino ^^^VVV<a class="wikilink" href="new_padylon_8.html">new_padylon_8</a><br> Constant and the Path of Unitary Urbanism<a class="wikilink" href="new_padylon_9.html">new_padylon_9</a><br><br> Discipline or Invention?<a class="wikilink" href="new_padylon_10.html">new_padylon_10</a><br> Description of the Yellow Sector - Alexia&#160; VVV<a class="wikilink" href="new_padylon_11.html">new_padylon_11</a><br>&#160;<br> Inaugural Report to the Munich Conference - miglena's done it<a class="wikilink" href="new_padylon_12.html">new_padylon_12</a><br>&#160;<br> A few propositions concerning the concepts face of the earth urban development and art&#160; // annitta VV---*<a class="wikilink" href="new_padylon_13.html">new_padylon_13</a><br><br> New Urbanism (amandine) // city planning, urbanism /&#160; VVV<a class="wikilink" href="new_padylon_14.html">new_padylon_14</a><br><br>&#160; new_babylon-outline_of_a_culture // Harvard.edu. text&#160; [michaela] VVV<a class="wikilink" href="new_padylon_15.html">new_padylon_15</a><br>&#160;<br> About the Meaning of Construction&#160;<a class="wikilink" href="new_padylon_16.html">new_padylon_16</a><br><br>&lt;from folder after&gt;<br> New Babylon - Ten years on&#160;<a class="wikilink" href="new_padylon_17.html">new_padylon_17</a><br><br>&#8220;Presentations&#8221; p.238 (timeline)<br><a class="wikilink" href="new_padylon_timeline.html">new_padylon_timeline</a><br><br><strong>images</strong><br><a class="wikilink" href="new_padylon_images.html">new_padylon_images</a><br><br><strong>documentation</strong><br><a class="wikilink" href="new_padylon_docu.html">new_padylon_docu</a><br><br>talks<br><a class="wikilink" href="new_padylon_merijn.html">new_padylon_merijn</a><br><br><strong>Shell</strong> <em>(an idea of format/platform to explore content)</em><br><a class="wikilink" href="shell_essay.html">shell_essay</a><br><br><strong>key words</strong><br><a href="http://192.168.1.222:9001/p/new_padylon_keywords">http://192.168.1.222:9001/p/new_padylon_keywords</a><br><br><a href="http://192.168.1.222:9001/p/new_padylon_navigating">http://192.168.1.222:9001/p/new_padylon_navigating</a><br><br> <code style="font-family: monospace"> ____ _____ _ ____ __ __ _____ </code> <code style="font-family: monospace">| _ \| ____| / \ | _ \| \/ | ____|</code> <code style="font-family: monospace">| |_) | _| / _ \ | | | | |\/| | _| </code> <code style="font-family: monospace">| _ &lt;| |___ / ___ \| |_| | | | | |___ </code> <code style="font-family: monospace">|_| \_\_____/_/ \_\____/|_| |_|_____|</code><br><a href="http://192.168.1.222:9001/p/new_padylon_readme">http://192.168.1.222:9001/p/new_padylon_readme</a><br><br><strong>TODO</strong><br><a href="http://192.168.1.222:9001/p/new_padylon_TODO">http://192.168.1.222:9001/p/new_padylon_TODO</a><br><br><strong>Markdown</strong><br><a href="http://daringfireball.net/projects/markdown/syntax">http://daringfireball.net/projects/markdown/syntax</a> (original syntax)<br><a href="https://michelf.ca/projects/php-markdown/extra/">https://michelf.ca/projects/php-markdown/extra/</a> (extended syntax)<br><br><br><strong>Search an replace atelier: formatting the text to markdown</strong><br>[1<br>[^1<br><br>\[\(\d\)<br><br>[^\1<br><br><br><br>footnotes:<br>[^1]<br>[^1]:<br>&#160;&#160;&#160;&#160;<br>&#160;&#160;&#160;&#160;<br><br><br><br></body></html>
......@@ -4,7 +4,7 @@ to download txt and img files ripped from the book:
git clone relearn@192.168.1.222:git/new_babylon.git
* All commits are uploaded on the webserver:
* All commits are uploaded on the webserver:
*- http://192.168.1.222/new_babylon/
*- Changes on README.html will be shown on the first page.
*- you can link images from the /img/ folder on the webserver
......@@ -96,4 +96,30 @@ http://192.168.1.222:9001/p/new_padylon_navigating
http://192.168.1.222:9001/p/new_padylon_readme
TODO
http://192.168.1.222:9001/p/new_padylon_TODO
Markdown
http://daringfireball.net/projects/markdown/syntax (original syntax)
https://michelf.ca/projects/php-markdown/extra/ (extended syntax)
Search an replace atelier: formatting the text to markdown
[1
[^1
\[\(\d\)
[^\1
footnotes:
[^1]
[^1]:
This diff is collapsed.
......@@ -29,6 +29,9 @@ A reference of the ludic society - higly used in the game industry and interact
(Ludics) tantalisingly offers a new approach to understanding play through the process of play itself.
Lohit Tamil
http://www.ludic-society.net/
Homo Ludens
......
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>The great game to come<br><br>1<br>The need to build a large number of cities quickly, a need brought about as a result of the industrialization of underdeveloped countries and the acute housing shortage after the war, has made urbanism into one of today's key cultural problems. We would even go so far as to consider that no cultural development is possible without new conditions in our everyday surroundings. It must first be pointed out that the initial experiments undertaken by teams of architects and sociologists were thwarted by a lack of collective imagination, which accounts for the arbitrary and limited approach followed in those experiments. <strong>Urbanism, as it is understood by today's professional planners, is reduced to the practical study of housing and traffic as isolated problems.</strong> <strong>The total lack of alternatives involving play in the organization of social life prevents urbanism from attaining the level of creation, and the gloomy and sterile appearance of most modern neighborhoods is a shameful reminder of this. </strong>The non existing "play" function of the modern city becomes the primary criteria for urban design in Unitary Urbanism. Play as the only tool for creation.<br><br>2<br><strong>The Situationists, explorers specializing in play and recreation, understand that the appearance of cities is of importance only as regards the psychological effects that it can produce</strong>, which should be taken into account along with all of the other factors. The appearance of the city it only matters as regards on the psychological effects on people.Our conception of urbanism is not limited to construction and its functions, but rather takes in all of the uses that can be found, or even imagined, for it. It is obvious that these uses must change along with the underlying social conditions and that our conception of urbanism is therefore first and foremost a dynamic one.<strong> </strong>We also reject the placement of buildings in static surroundings -- which passes at present for new architecture.<strong> On the contrary, we believe that all static, unchanging elements must be avoided and that the variable or changing character of architectural elements is the precondition for a flexible relationship with the events that will take place within them.</strong> Can we relate to an environment that is constantly changing? Can we live in a constant disorientation? Is this a way to avoid boredom in a society where your only role is to enjoy?.<br><br>3<br>Bearing in mind the extent to which future recreational pursuits and the new situations that we are beginning to build must profoundly affect the basic idea of any urbanistic study, we can already expand our understanding of the problem through experimentation with certain phenomena linked to the urban environment: activity in a certain street, <strong>the psychological effect of different surfaces and constructions</strong>, the rapidly changing appearance of space produced by ephemeral elements, the speed with which ambiance changes and the potential variations in the overall ambiance of different neighborhoods. <strong>The derive, as practiced by the Situationists, is an effective means of studying this phenomena in existing cities and arriving at preliminary conclusions</strong>. The psychogeographical notions gathered in this way have already led to the creation of plans and models of a highly imaginative sort that could be called architectural science fiction. The Situationist's derives as a method for studying how to develop such "playful" city.&#160;<br><br>4<br><strong>The technical inventions that humanity has at its disposal today </strong>will play a major role in the construction of the <strong>ambiance-cities of the future</strong>. It is worth noting that significantly, to date, these inventions have in no way contributed to existing cultural activities and that creative artists have not known what to do with them. The potential offered by cinema, television, radio and <strong>high-speed travel and communication (internet??) has not been exploited, and their effect on cultural life has been deplorable</strong>. (Which nowadays it has)&#160; The investigation of<strong> technology and its exploitation for recreational ends </strong>on a higher plane is one of the most pressing tasks required to facilitate creation of a <strong>unitary urbanism</strong> on the scale demanded by the society of the future.Technology used not only in the construction of the city but also in the leasure/ cultral life activities !!<br><br>(Written by Constant Nieuwenhuis and published in Potlatch #30, 15 July 1959.)<br><br></body></html>
<html><head><meta charset="utf-8"></meta><link href="styles.css" rel="stylesheet"></head><body>The great game to come<br><br>1<br>The need to build a large number of cities quickly, a need brought about as a result of the industrialization of underdeveloped countries and the acute housing shortage after the war, has made urbanism into one of today's key cultural problems. We would even go so far as to consider that no cultural development is possible without new conditions in our everyday surroundings. It must first be pointed out that the initial experiments undertaken by teams of architects and sociologists were thwarted by a lack of collective imagination, which accounts for the arbitrary and limited approach followed in those experiments. <strong>Urbanism, as it is understood by today's professional planners, is reduced to the practical study of housing and traffic as isolated problems.</strong> <strong>The total lack of alternatives involving play in the organization of social life prevents urbanism from attaining the level of creation, and the gloomy and sterile appearance of most modern neighborhoods is a shameful reminder of this. </strong>The non existing "play" function of the modern city becomes the primary criteria for urban design in Unitary Urbanism. Play as the only tool for creation?.<br><br>2<br><strong>The Situationists, explorers specializing in play and recreation, understand that the appearance of cities is of importance only as regards the psychological effects that it can produce</strong>, which should be taken into account along with all of the other factors. The appearance of the city it only matters as regards on the psychological effects on people.Our conception of urbanism is not limited to construction and its functions, but rather takes in all of the uses that can be found, or even imagined, for it. It is obvious that these uses must change along with the underlying social conditions and that our conception of urbanism is therefore first and foremost a dynamic one.<strong> </strong>We also reject the placement of buildings in static surroundings -- which passes at present for new architecture.<strong> On the contrary, we believe that all static, unchanging elements must be avoided and that the variable or changing character of architectural elements is the precondition for a flexible relationship with the events that will take place within them.</strong> Can we relate to an environment that is constantly changing? Can we live in a constant disorientation? Is this a way to avoid boredom in a society where your only role is to enjoy?.<br><br>3<br>Bearing in mind the extent to which future recreational pursuits and the new situations that we are beginning to build must profoundly affect the basic idea of any urbanistic study, we can already expand our understanding of the problem through experimentation with certain phenomena linked to the urban environment: activity in a certain street, <strong>the psychological effect of different surfaces and constructions</strong>, the rapidly changing appearance of space produced by ephemeral elements, the speed with which ambiance changes and the potential variations in the overall ambiance of different neighborhoods. <strong>The derive, as practiced by the Situationists, is an effective means of studying this phenomena in existing cities and arriving at preliminary conclusions</strong>. The psychogeographical notions gathered in this way have already led to the creation of plans and models of a highly imaginative sort that could be called architectural science fiction. The Situationist's derives as a method for studying how to develop such "playful" city.&#160;<br><br>4<br><strong>The technical inventions that humanity has at its disposal today </strong>will play a major role in the construction of the <strong>ambiance-cities of the future</strong>. It is worth noting that significantly, to date, these inventions have in no way contributed to existing cultural activities and that creative artists have not known what to do with them. The potential offered by cinema, television, radio and <strong>high-speed travel and communication (internet??) has not been exploited, and their effect on cultural life has been deplorable</strong>. (Which nowadays it has)&#160; The investigation of<strong> technology and its exploitation for recreational ends </strong>on a higher plane is one of the most pressing tasks required to facilitate creation of a <strong>unitary urbanism</strong> on the scale demanded by the society of the future.Technology used not only in the construction of the city but also in the leasure/ cultral life activities !!<br><br>(Written by Constant Nieuwenhuis and published in Potlatch #30, 15 July 1959.)<br><br></body></html>
The great game to come
1
The need to build a large number of cities quickly, a need brought about as a result of the industrialization of underdeveloped countries and the acute housing shortage after the war, has made urbanism into one of today's key cultural problems. We would even go so far as to consider that no cultural development is possible without new conditions in our everyday surroundings. It must first be pointed out that the initial experiments undertaken by teams of architects and sociologists were thwarted by a lack of collective imagination, which accounts for the arbitrary and limited approach followed in those experiments. Urbanism, as it is understood by today's professional planners, is reduced to the practical study of housing and traffic as isolated problems. The total lack of alternatives involving play in the organization of social life prevents urbanism from attaining the level of creation, and the gloomy and sterile appearance of most modern neighborhoods is a shameful reminder of this. The non existing "play" function of the modern city becomes the primary criteria for urban design in Unitary Urbanism. Play as the only tool for creation.
The need to build a large number of cities quickly, a need brought about as a result of the industrialization of underdeveloped countries and the acute housing shortage after the war, has made urbanism into one of today's key cultural problems. We would even go so far as to consider that no cultural development is possible without new conditions in our everyday surroundings. It must first be pointed out that the initial experiments undertaken by teams of architects and sociologists were thwarted by a lack of collective imagination, which accounts for the arbitrary and limited approach followed in those experiments. Urbanism, as it is understood by today's professional planners, is reduced to the practical study of housing and traffic as isolated problems. The total lack of alternatives involving play in the organization of social life prevents urbanism from attaining the level of creation, and the gloomy and sterile appearance of most modern neighborhoods is a shameful reminder of this. The non existing "play" function of the modern city becomes the primary criteria for urban design in Unitary Urbanism. Play as the only tool for creation?.
2
The Situationists, explorers specializing in play and recreation, understand that the appearance of cities is of importance only as regards the psychological effects that it can produce, which should be taken into account along with all of the other factors. The appearance of the city it only matters as regards on the psychological effects on people.Our conception of urbanism is not limited to construction and its functions, but rather takes in all of the uses that can be found, or even imagined, for it. It is obvious that these uses must change along with the underlying social conditions and that our conception of urbanism is therefore first and foremost a dynamic one. We also reject the placement of buildings in static surroundings -- which passes at present for new architecture. On the contrary, we believe that all static, unchanging elements must be avoided and that the variable or changing character of architectural elements is the precondition for a flexible relationship with the events that will take place within them. Can we relate to an environment that is constantly changing? Can we live in a constant disorientation? Is this a way to avoid boredom in a society where your only role is to enjoy?.
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On Traveling [Original in Dutch, 'Over het reizen' was read to the BNA (Society of Dutch Architects) on the occasion of the realization of the new Schiphol Airport buildings, April 1966. It was published in Dutch in Opstand van de Homo Ludens (Bussum: Paul Brand, 1969)]
*On Traveling
[Original in Dutch, 'Over het reizen' was read to the BNA (Society of Dutch Architects) on the occasion of the realization of the new Schiphol Airport buildings, April 1966. It was published in Dutch in Opstand van de Homo Ludens (Bussum: Paul Brand, 1969)]
Among the buildings that form a city — buildings of many natures and functions — there are some that play a very special part. These buildings, or groups of buildings, have an atmosphere of their own which deviates from that of the rest of the city, their function is in a sense contradictory to the function of the city, they represent an intrusion on the principle of the city, they are, as it were, cities within cities. These buildings have to do with departures and arrivals — stations, harbor installations, airports.
The city, in the usual sense of the word, is a place to live, a settlement, a habitat, a place where a number of people have organized their existence in a community, where they have created the provisions that such an existence calls for, where they find that which they need in order to go on liv­ing: work, shelter, transport facilities, distribution centers for consumer goods, recreation, and possibilities of devel­opment. There are four functions of the city as defined by Le Corbusier: living, working, recreation, and traffic to and from work. This characterizes the atmosphere of the mod­ern functional city, the atmosphere of life and work, the living atmosphere of homo faber. Everything in the func­tional city is directed at production: the factories and offices, the working-class dwellings in the suburbs, public trans­port between the residential areas and centers of work, conveniences like shops, hospitals, clinics, educational in­stitutions. Everything in these functional cities is aimed at utility, everything has to be efficient. The functional city is the most highly developed form of the settlement, with the highest productivity since Neolithic man started to produce his own goods and to build the first villages. Since man was forced to give up his nomadic way of life, the earth has been covered by an increasingly dense blanket of constructions. Natural vegetation has had to make way for the living-layer of stone which has become the new home of the sedentary, working, human being. The city is — and has been since its invention — specifically a place to stay. That is why the buildings that have to do with departures, with traveling, are buildings with a special atmosphere, with a divergent function. Traveling signifies a break in the pattern of everyday life. The traveler abandons his settle­ment. He goes to other places, where he is not at home, where he is not sedentary, not a resident. He resumes, per­haps, the nomadic existence he led before he was obl
iged to settle in one fixed place. Travel is increasing in direct proportion to the diminution of work. With the increase in leisure time, the action-radius of every individual is ex­panding. As people become less tied down geographically by their work, so they give up their sedentary way of life, the old urge to wander resurfaces.
The city, in the usual sense of the word, is a place to live, a settlement, a habitat, a place where a number of people have organized their existence in a community, where they have created the provisions that such an existence calls for, where they find that which they need in order to go on liv­ing: work, shelter, transport facilities, distribution centers for consumer goods, recreation, and possibilities of devel­opment. There are four functions of the city as defined by Le Corbusier: living, working, recreation, and traffic to and from work. This characterizes the atmosphere of the mod­ern functional city, the atmosphere of life and work, the living atmosphere of homo faber. Everything in the func­tional city is directed at production: the factories and offices, the working-class dwellings in the suburbs, public trans­port between the residential areas and centers of work, conveniences like shops, hospitals, clinics, educational in­stitutions. Everything in these functional cities is aimed at utility, everything has to be efficient. The functional city is the most highly developed form of the settlement, with the highest productivity since Neolithic man started to produce his own goods and to build the first villages. Since man was forced to give up his nomadic way of life, the earth has been covered by an increasingly dense blanket of constructions. Natural vegetation has had to make way for the living-layer of stone which has become the new home of the sedentary, working, human being. The city is — and has been since its invention — specifically a place to stay. That is why the buildings that have to do with departures, with traveling, are buildings with a special atmosphere, with a divergent function. Traveling signifies a break in the pattern of everyday life. The traveler abandons his settle­ment. He goes to other places, where he is not at home, where he is not sedentary, not a resident. He resumes, per­haps, the nomadic existence he led before he was obliged to settle in one fixed place. Travel is increasing in direct proportion to the diminution of work. With the increase in leisure time, the action-radius of every individual is ex­panding. As people become less tied down geographically by their work, so they give up their sedentary way of life, the old urge to wander resurfaces.
Mechanization is not restricted to the production proces­ses, it extends equally to transport, which becomes more and more rapid — in response to the demand for quick trav­el to destinations that are further and further away. When the holidays start and city-dwellers leave their work for a few weeks, there is a peak in the use of transport. The city is deserted by its workers and tourists from other cities re­place them, tourists who pass through the city in search of adventure — the modern nomads. This temporary popula­tion makes different demands on the city from those the permanent population makes. They require not homes but hotels, not places to work but places of entertainment. And their comings and goings are concentrated where normal city-life is least manifest — where the city opens up to admit the outside world.
Travel is not only increasingly important because of its growing frequency, but also and especially because of the ever-greater distances being covered, by increasingly rapid means of transport. Therefore the quickest means of trans­port — the airplane — exhibits the greatest rise in capacity and use. The airports, usually situated outside the city cen­ters, are becoming new centers of activity, an activity that is different from the bustle of city life. The atmosphere is not that of people hurrying home, shopping for their eve­ning meal, rushing to work, or of people seeking relax­ation and quiet at the end of the day: no, this atmosphere has a nature all its own. Airports are filled with a fluctuat­ing population, the people have no intention of staying or settling down: they have arrived and plan to go into the city; or they are about to leave and have already detached themselves from the city’s life; they are prepared for the adventure of the forthcoming trip or they are transit pas­sengers, and are to continue an adventure that started else­where. The population of an airport is not a community but a heterogeneous company of people. All sorts of languages can be heard, Babylonic confusion reigns, extraordinary de­mands on food and drink are made, there are people of all races, all cultures, and every social class. But, most import­ant, they are in an unfamiliar situation, not at home — they are travelers in a strange environment where their usual norms and standards have lost value, they are displaced and have only each other to turn to. Contacts are made which, in normal circumstances, would be more difficult to establish. Conversations are held between strangers who will never meet again.
In short, airports play the part of ‘social space’ in a way that has become impossible in the functional city of today. Once it was at the annual fair that people could meet, the place where contacts were made: the social space for the citizens of the world, the ‘acculturation zone’ where the dissemina­tion of culture took place. Later, the railway stations became the centers of social intercourse. Even now metropolitan railway stations are meeting places for those who stand out­side the urban community. The so-called ‘guest workers’ meet and make contact with each other in railway stations by preference; this has induced the authorities in a city like Amsterdam to decree the hall of the central station out of bounds for non-travelers. Perhaps the lack of understanding of man’s most basic need — the need for social contact — will eventually induce the authorities to rule the Schiphol area forbidden territory for anyone who is not leaving or arriv­ing. But the airport is becoming an international meeting place, a social space not only for travelers but also for citizens of all kinds, where everyone will sense that special atmos­phere, that taste of nomadic life, for which we have been nostalgic ever since we turned to a sedentary way of life. Traveling has been until recently the privilege of the élite. In the past it was a costly undertaking, regarded as the crown­ing of a gentleman’s education; traveling widens the horizon and expands the view, it was rightly thought. The accultur­ation process was unthinkable without traveling; isolated cultures were, and are, doomed to die. Rabelais, Lawrence Sterne, Casanova, and Jules Verne, conscious as they were of the deadliness of the constricting local norms, described traveling as a cultural experience. The importance of what we experience today should therefore not be underestim­ated: the acculturation of the masses is the consequence of mass traveling.
This acculturation process can be seen in the interest in foreign languages and ways of life, or in foreign food. One can dine in a Chinese, Japanese, Spanish, Italian, Yugoslav or Greek restaurant in Holland, it is as easy to get vodka, tequila, or slivovitch as the old Dutch drinks, people drink wine with their meals, record shops sell folk music from all over the world. On the other hand the tourists visiting less industrialized countries inevitably affect the original culture of those countries.
The tourist introduces a new atmosphere into societies that had, until recently, a closed set of norms, thereby contrib­uting to the downfall of those norms, and internationalization is taking place on the basis of this mutual influence. In ‘The lonely Crowd’ David Riesman attacks the neo-tra­ditionalists who base their ideas about the city on ‘social’ ideals, who want to shut people up in communities where their social relations must be concentrated in the neigh­borhood, while they themselves — according to Riesman — choose to eat a French dish this day and an Italian one the next, read books in four languages, and collect art from all cultures.
The central problem in city-planning is thus transferred from the settlement. The neighborhood as it has devel­oped in today’s garden cities no longer fits in with new needs and habits. Sedentary man is dying out; we are be­coming nomads once more, wandering over the earth, not looking for rest but for dynamic motion. The traveler is regarded with envy and when he comes home he finds it difficult to reconcile himself to his old routine. Places of departure and arrival — especially airports — are places of adventure and nostalgia. So the airport is not just a utility building for the efficient entry and exit of passengers, but also a romantic décor for the potential nomad that we all are — it offers an escape from the settlement. An airport, because of its opposite nature, reflects better than any other building the atmosphere of the age that is dawning, of automation and non-working man, and hence of the new no­mad, homo ludens, playing man. Was it not those who did not have to work for their living who were regarded as the builders of past cultures? What we see today, at least in the industrialized countries, is not so much an ‘Umwertung der Werte,’ a reversal that allows new values to emerge, but more a democratization of culture. Homo ludens is no longer a man in an exceptional social situation, but any man. And his life-pattern will include fluctuation, wander­ing over the face of the earth: until now a pastime reserved for those who did not work.
The new city will not be a settlement: it will be the décor of this new life. And in that sense the airport of today can be seen as the anticipatory image of the city of tomorrow, the city of man ‘passing through.’
The airport is a city within the city, a city of wanderers within the city of settled men. The traveler must find every­thing he needs in the airport, and above all, that which is conducive to social contact. His needs will change and ex­pand. The use of the term homo ludens anticipates the de­velopment of a non-working, leisure-oriented society. I have until now emphasized the adventure of travel, and ne­glected its utilitarian aspect. The businessman is evidently in a different situation from that of the tourist or student. I have deliberately stressed the ‘joyriding’ aspect of travel, because I believe it has not been given enough consider­ation. In every trip, even the most hasty business trip, there is an element of adventure, and this element gains impor­tance as man acquires more free time. Homo ludens is the master of his time, and his existence therefore depends on the processes that reduce labor — processes that are fast de­veloping. The free man of the coming era will make different demands on his environment. Efficiency as far as material provisions are concerned is of course a conditio sine qua non, but there will also emerge a need for creative play. I have tried to represent the airplane as an important feature in the game of life, as a means for the art of living. I believe that the airplane even now is regarded as such by increasing numbers of people. And that is why I have called the airport the anticipatory image of the city of tomorrow, the play-town of homo ludens, the décor for a new mass culture.
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*Notes on traveling, tourism and ariports/
I wonder what would be an updated version of this text. “the nomadic idea” is replaced by tourism. He shares a very optimistic view on what the tourists represents. Which I rather differentiate the tourist from the traveler. The tourist travels with the arrogance of watching thee other with a distance. Doesn't not connect to other culture neither makes an effort to understand it. The traveler is absorbed by the movements of the place the traveler arrived and feel the city from within. The tourist is protected by a shield of prejudice and has a distance from the places. The tourists is always in a zoo, protect by the cultural cage of its desire to be entertained.
Therefore I believe, if the airports, as hybrid international spaces as it can be, carrying only the souvenirs of a culture, designed within the economic constrains of the place, represents the tourists. Than there will be no real place for the traveler. The traveler is installed within the automation and sedentary of a city, invisible the traveler moves and leaves. And the easiest way to find the traveler is either by enjoying nomadic life, or by spontaneous gatherings. The space of the traveler that the text defines as an interesting character is no longer the airport, but the ephemeral act of movement.
nomadic life and architecture vs sedentary
*Keys
Architecture as meeting place, Public spaces with divergent function, City portals, Sedentary man, Nomadic Culture, Elite nomadic class, modern nomads, babylonic confusion, cultural displacement, acculturation zone, traveling as a cultural experience
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