text to speech in various languages (espeak)
text encoding of spacing and other verbal features that are implicit in a sound recording (TEI)
mixing of concurrent audio tracks (audacious? or MMORPG)
synchronization of multiple speeches and other sounds within virtual auditory field (custom software or MMORPG)
spatialized generation of speech and other sounds with respect to current position of listener (custom software and/or MMORPG)
filtering of unmediated source text based on implied characteristics of virtual listener (age, social status, degree of intoxication, locus of desires, and so on) (custom software)
encoding of partial and final production (custom software or MMORPG)
presentation of final production (any good FOS MMORPG platforms? Otherwise, default probably Second Life).
5 3 1 (+) [-6+]mCQK diogenes_laertius-lives_of_eminent_philosophers (8) 20130915q 0 -1+ progress/1996/07/notes_for_diogenes_laertius-lives_of_eminent_philosophers.html
Pythagoras compared life to the great games, philosophers as spectators among others competing for prizes and others selling wares. (8) Sosicrates in his Successions of Philosophers says that, when Leon the tyrant of Philius asked him who he was, he said, "A philosopher," and that he compared life to the Great Games, where some went to compete for the prize and others went with wares to sell, but the best as spectators; for similarly, in life, some grow up with servile natures, greedy for fame and gain, but the philosopher seeks for truth.
5 3 1 (+) [-6+]mCQK goodman-sonic_warfare (150) 20111208 0 -2+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Compare deja entendu to being more familiar with the written translation while hearing for the confusedly first time the original Greek text in one of the periphery concurrent auditory channels of symposia. (150) In this process of switching, a synesthetic surplus value is produced, and it is this surplus that makes acoustic time anomalies in sampladelic culture such a common occurrence. The more commonplace version of this involves accidentally stumbling across an original track when you are much more acquainted with its sampled riffs or vocal phrases populating another piece of music.
5 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (4) 20130928b 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Kittler subvocalization and mothers voice consummates print era; why stop here with beeps and clicks when we have text to speech of foreign languages and new possibilities for reading even our natural languages? (4) reading functions as hallucinating a meaning between the letters and lines. . . . these practices gave voice to print text, particularly novels and the voice most people heard was the same voice that taught them to read, namely, the mothers, which in turn was identified with Mother Nature and a sympathetic resonance between the natural world and human meaning. . . . To an extent, then, the mothers voice that haunted reading has been supplanted by another set of stimuli: the visual, audio, kinesthetic, and haptic cues emanating from the computer. If the mothers voice was the link connecting subjectivity with writing, humans with natural environments, then the computers beeps, clicks, and tones are the links connecting contemporary subjectivities to electronic environments, humans to the Computational Universe.
5 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (7) 20130928d 0 -1+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Completely misses text to speech simulation for this discussion of intermediation, see page 201; compare to Barthes grain as embodiment effect. (7) This entanglement of the bodies of texts and digital subjects is one manifestation of what I call intermediation, that is, complex transactions between bodies and texts as well as between different forms of media.
5 3 1 (+) [-6+]mCQK hayles-my_mother_was_a_computer (9) 20130928e 0 -5+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Great perspective for symposia project as dynamic assemblage of texts in embodied VR framework. (9) This chapter [4] argues that taking materiality seriously requires different models of subjectivity than those usually assumed in textual editing, as well as changed concepts of how embodied texts relate to one another. . . . we should conceptualize texts as clustered in assemblages whose dynamics emerge from all the texts participating in the cluster, without privileging one text as more original than any other.
5 3 1 (+) [-6+]mCQK kahn-noise_water_meat (26) 20130930f 0 -1+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Compare handwriting noise to the grain of the voice? (26) A silent figure of significant noise exists in handwriting.
5 3 1 (+) [-6+]mCQK kahn-noise_water_meat (48-49) 20111208 0 -3+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Compare polyglot practice to symposia cacaphony. (48-49) To this can be added Balls vigorous support of the poetic codification of polyglot practice: the poem Lamiral cherche une maison a louer (The Admiral is looking for a house to rent). It was simultaneously recited in German, English, and French (as well as in nonsense words, vocables, singing, and whistling), moving in and out of relations of translation, by Richard Huelsenbeck, Marcel Ianco, and Tristan Tzara at the Cabaret Voltaire on 29 March 1916. Again, the polyglot has lost its specific qualities to become the voice, in this case, at risk in a world of noise.
5 3 1 (+) [-6+]mCQK mcluhan-understanding_media (259) 20131006m 0 -1+ progress/1994/08/notes_for_mcluhan-understanding_media.html
SYMPOSIA simulates film; it attempts to picture the emergence of Thought from the recording of the media on which its image has been photographed, in frames of words. (259) Everyone has at some time wished he were equipped with his own sound system during a movie presentation, in order to make appropriate comments.
5 3 1 (+) [-6+]mCQK ogorman-ecrit (12) 20120226 0 -8+ progress/2008/09/notes_for_ogorman-ecrit.html
Complementing Ulmer visual heuretical approach with audible phenomena difficult, which may be why examples here remain in visual realm although shift to pictures: better examples exist now with free, open source plus expiring copyright objects in future virtual realities; unpacking this statement would answer a number of yet to be considered questions about for the philosophy of computing: where to go next is up to you. (12) On several occasions in this study, the term heuretics, borrowed from Gregory Ulmer, will be used to describe a supplementary or alternative logic to hermeneutic discourse, a way out of the hermeneutic circle. In short, heuretics provides us with a logic of invention, a form of generative productivity of the sort practiced in the avant-garde (Ulmer 1994a: xii). What I am attempting to outline in this book is a heuretic approach to discourse that draws on the suggestive power of pictures as a means of generating new modes of writing suitable to an image-oriented culture. . . . The purpose of this foregrounding, however, is not to interpret the picture, or to offer an authoritative reading of it in the conventional sense, but to draw on the picture as a tool for invention, as a generator of concepts and linkages unavailable to conventional scholarly practices. This is how hypericonomy breaks out of the hermeneutic circle.
5 3 1 (+) [-6+]mCQK ong-orality_and_literacy (9) 20131006d 0 -1+ progress/2008/08/notes_for_ong-orality_and_literacy.html
This is the challenge for audio texts and technologies. (9) When study in the strict sense of extended sequential analysis becomes possible with the interiorization of writing, one of the first things that literates often study is language itself and its uses.
5 3 1 (+) [-6+]mCQK ong-orality_and_literacy (32) 20131006n 0 -4+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Dynamic essence of sound seems comparable to instantaneous production of real virtualities over stored archives. (32) the Hebrew term dabar means word and event. . . all sound, especially oral utterance, which comes from inside living organisms, is dynamic.
5 3 1 (+) [-6+]mCQK saussure-general_course_in_linguistics (24) 20131009u 0 -2+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Constant intrusion of writing (Derrida) means it is important to consider audio texts and technology. (24) Languages are mostly known to us only through writing. Even in the case of our native language, the written form constantly intrudes.
5 3 1 (+) [-4+]mCQK baudrillard-simulacra_and_simulation (16) 20120329 0 -2+ progress/2012/02/notes_for_baudrillard-simulacra_and_simulation.html
Overcome the cynical pessimistic outcome of early postmodern reasoning as well as address the ambivalence toward computer technology of Heidegger by positing possibilities of remediation into unimaginable virtual realities like the ensoniment of Plato Symposium as example of saving power in the danger because it generates a hyperreal auditory field by computing base material deeply rooted in and constitutive of our intellectual history: do a new take on the image so dear to Derrida of Plato instructing a Socrates who writes, new myths branch from the revelation by Alcibiades to a writing Socrates of alternate accounts of the historical Socrates in ways also suggested by Aristophanes and Diogenes Laertius, like Socrates as a great pirate publisher who would be a master hacker today. (16) If one envisions the entire cycle of any act or event in a system where linear continuity and dialectical polarity no longer exist, in a field unhinged by simulation, all determination evaporates, every act is terminated at the end of the cycle having benefited everyone and having been scattered in all directions.
(16) Simulation is characterized by a precession of the model, of all the models based on the merest fact the models come first, their circulation, orbital like that of the bomb, constitutes the genuine magnetic field of the event.
5 3 1 (+) [-4+]mCQK berry-philosophy_of_software (103) 20130911o 0 -5+ progress/2012/06/notes_for_berry-philosophy_of_software.html
Compare Miwa reverse-simulation examples of logic gates to symposia simulating virtual reality. (103) Here, the musicians are acting as if they were running autonomous prescriptive code performing as individual logic gates performing logic operations based on the internal logic operations defined by XOR. . . . But crucially, it should be possible, at least theoretically, to follow through each step of the process unfolding, rather as one would if debugging computer software.
5 3 1 (+) [-4+]mCQK bork-journal 20091203 20091203 0 -48+ journal_2009.html
The current version of the GNU FDL states that If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software. Reading this in the FDL makes sense given what has been thought about the mixture of program source code and comments. Think about the example of inline assembly code changing the memory at the address of a C language pointer to a long long int along with Ciceros combination of a little Greek in Latin code.
We need an image of a relevant letter to Atticus of Cicero demonstrating this sparse use of Greek characters among Latin characters. Also have external links to the Subversion repositories of the pmrek and possibly poller code. Reach a discussion of why it is not appropriate to use the BASH date operating system utility program with timestamps of second precision able to indicate any instant over the span of thousands of years (many orders of magnitude greater than thousands of seconds) for timing within runnings of command line terminal (ncurses) programs like testbed.exe made of C/C++ source code. The assembly is concretized in the sense that it is concealed in the source code. Another form of technological concretization addresses the way that timing, or some other system attribute, is handled by at one time a programmed solution and at another time by an external source like a interrupt. Recall the discussion by Simon Yuill in Software Studies about polling and interrupt handling. While polling continues to be used on some simple processor devices, the interrupt enabled more sophisticated forms of interaction between a computer and the external world (161). This can be misread to think that we therefore dont have to study polling techniques when designing and interpreting modern computing. Put notes in the early iterations of the source code about what must be completed, todos, marked with a specific text like TODO easily located. This is also important, stated by the FDL website:
We have designed this License in order to use it for manuals for free software, because free software needs free documentation: a free program should come with manuals providing the same freedoms that the software does. But this License is not limited to software manuals; it can be used for any textual work, regardless of subject matter or whether it is published as a printed book.
Also need CSS for citations. So that is source code, quotations, references, and certain hyperlinks. Part of digital literacy is knowing the syntax for writing comments in different computer programming languages, such as C, BASH, HTML, and CSS (if that denotes a language). CSS shares the C comment syntax (/* [comment text] *\). Another programming question: is it correct in HTML frames to include a header with title for each element? It is also significant that care is taken to license the philosophical text using FDL as if it were program documentation, for in fact it is, and contains passages of GPL licensed program source code. This illustrates how to cite free, open source code within humanities scholarship for CCS.
jbork@sokrates:~/journal$ grep Atticus */*/*
Binary file 1996/01/960104c.wpd matches
Binary file 1996/01/960104e.wpd matches
Binary file 1996/02/960202.wpd matches
Binary file 1996/02/960223a.wpd matches
Binary file 1996/03/960322b.wpd matches
Binary file 1996/04/960429.wpd matches
This was sloppy and painful but worked. A long time ago was thought early Christmas morning in a journal, 961225.0126 Two uses for the letter to Atticus: on the hieroglyphic admixture of Latin and Greek & Cicero s fascization (..) Posidonius. However, it does not reveal which letter to retrieve from the Perseus Project. There is also a false lead in notes for INTRODUCTION TO PHILIPPIC II, notes for Clarks The Roman Mind, and Plutarchs Parallel Lives. Scanning, found books (letter) 2,6,10,12. The first, 2, mentions of all things hypomnema. The second, 6, contains a quotation in Greek. Having trouble matching up with texts that contain the Greek characters. This lookup is meaningful to somebody: Scr. Romae m. Iun. a. 694 (60). CICERO ATTICO SAL. Reading again what was written before, we are looking for a letter that involves Posidonius, whatever I meant by fascization back then, in addition to what I called the hieroglyphic admixture of Latin and Greek.
5 3 1 (+) [-4+]mCQK bork-journal 20111103 20111103 11 -13+ journal_2011.html
The Ensoniment of Platos Symposium: Proposal for a Software Project.
Near the beginning of Platos Symposium, the participants agree to dismiss the flute players and to avoid excessive intoxication in order to deliver a series of speeches on the topic of love. This turn of the plot could be interpreted as a requirement of the available media, for no sound recording or reproduction technologies existed in Platos day that could have captured the event apart from a written transcript. Yet more than other Platonic texts, the Symposium resembles a dramatic production that could be recast today in cinema or a multimedia, virtual reality environment. The latter option opens the hitherto mute world of classic texts to possibilities of ensoniment employing Jonathan Sternes term for which no originals exist. This proposal outlines a software project that integrates text encoding, speech synthesis, and the creation of multiple, concurrent auditory fields within the virtual space of an artificial world. Platos Symposium can be recast as a boisterous, computer-generated cacophony that humans experience as an audible phenomenon, rather a linear sequence of written characters whose audible characteristics must be imagined. I am giving the project the provisional name symposia to emphasize the multiplicity of media, speakers, and listening positions that will be actualized in the virtual reality environment. The basic technical requirements include:
text to speech in various languages
encoding of pacing and other audible features that are implicit in sound reproduction in source text
filtering of unmediated source text based on implied characteristics of virtual listener (age, social status, degree of intoxication, locus of desires, and so on)
spatialized generation of speech and other sounds with respect to current position of listener within the auditory field
traversal of listener in auditory field
delivery of final audible production in a physical or virtual reality environment
In order to further articulate the specifications for a software project, and arrive feasible implementation options, design decisions need to be made that can be informed by sound studies, and engage philosophical debates concerning the phenomenology of the audible, as well as notions of subjectivity and intelligibility that we have studied in our seminar. Each technical requirement raises questions. For example, speech synthesis is situated in a history precedes the invention of electronic devices. Current speech synthesis technologies typically rely on concatenative synthesis or formant synthesis, and each variation depends on an acoustic model that reflects implicit assumptions about the nature of sound in general, and human speech in particular. While this remediation of Platos script may not embody what Nietzsche meant by a musical Socrates, it will present a new way of doing philosophy with computers, and reintroduce conceptual complications that were eliminated by the constraints of early media practices in which the auditory field was transcribed into alphabetic script.
5 3 1 (+) [-4+]mCQK bork-journal 20111111 20111111 0 -99+ journal_2011.html
Imagine how I did it by describing participant enrollment in symposia. The order of DHCP server client IP address assignment (C-level requirement for my networking course) determines which hosts are which in the spatial layout of the symposia speakers. Establish at least ten. Start them as if everyone started working in teams to create speeches that would be told later in the text with which we are familiar as the default recorded text founding the myth of symposia.
[working code css]
jbork@alkibiades:~/Documents/saved_web_pages$ ls
Apache_Subversion_files Apache_Subversion.html
jbork@alkibiades:~/Documents/saved_web_pages$ mv ~/Downloads/svn-book-html-chunk.tar.bz2 .
jbork@alkibiades:~/Documents/saved_web_pages$ ls -l svn-book-html-chunk.tar.bz2
-rw-r--r-- 1 jbork jbork 500251 2011-11-11 19:00 svn-book-html-chunk.tar.bz2
jbork@alkibiades:~/Documents/saved_web_pages$ file svn-book-html-chunk.tar.bz2
svn-book-html-chunk.tar.bz2: bzip2 compressed data, block size = 900k
jbork@alkibiades:~/Documents/saved_web_pages$ bunzip2 svn-book-html-chunk.tar.bz2
jbork@alkibiades:~/Documents/saved_web_pages$ tar tf svn-book-html-chunk.tar
jbork@alkibiades:~/Documents/saved_web_pages$ tar xf svn-book-html-chunk.tar
file:///home/jbork/Documents/saved_web_pages/svn-book-html-chunk/index.html
jbork@alkibiades:~/src/symposia$ svnadmin create svn::192.168.0.100:symposia
jbork@alkibiades:~/src/symposia$ echo $?
0
jbork@alkibiades:~/src$ svn mkdir svn://192.168.0.100/symposia
Committed revision 976.
jbork@alkibiades:~/src$ mv symposia/ symposia2
jbork@alkibiades:~/src$ svn co svn://192.168.0.100/symposia
Checked out revision 976.
jbork@alkibiades:~/src$ mv symposia2/* symposia
jbork@alkibiades:~/src$ rmdir symposia2
jbork@alkibiades:~/src/symposia$ ls svn::192.168.0.100:symposia
conf db format hooks locks README.txt
jbork@alkibiades:~/src/symposia$ svn add Appolodurus.txt helper_scripts.sh Makefile symposia.cpp symposia.php symposia.sh
jbork@sokrates:~$ sudo poweroff
jbork@alkibiades:~/src/symposia$ vi Makefile
jbork@alkibiades:~/src/symposia$ make sourceforge
jbork@alkibiades:~/src/symposia/sourceforge$ svn co --username jbork59 https://symposia.svn.sourceforge.net/svnroot/symposia
Checked out revision 0.
jbork@alkibiades:~/src/symposia$ vi helper_scripts.sh
jbork@alkibiades:~/src/symposia/sourceforge$ svn checkout --username=jbork59 svn+ssh://jbork59@svn.code.sf.net/p/symposia/code-0/trunk symposia-code-0
The authenticity of host svn.code.sf.net (216.34.181.157) cant be established.
RSA key fingerprint is 86:7b:1b:12:85:35:8a:b7:98:b6:d2:97:5e:96:58:1d.
Are you sure you want to continue connecting (yes/no)? Yes
Password:
Password:
Checked out revision 1.
jbork@alkibiades:~/src/symposia$ make sourceforge
`Makefile -> `sourceforge/symposia-code-0/Makefile
`helper_scripts.sh -> `sourceforge/symposia-code-0/helper_scripts.sh
`symposia.sh -> `sourceforge/symposia-code-0/symposia.sh
`symposia.cpp -> `sourceforge/symposia-code-0/symposia.cpp
`symposia.php -> `sourceforge/symposia-code-0/symposia.php
jbork@alkibiades:~/src/symposia/sourceforge/symposia-code-0$ svn add *
jbork@alkibiades:~/src/symposia/sourceforge/symposia-code-0$ svn commit username=jbork59
Password:
Adding Makefile
Adding helper_scripts.sh
Adding symposia.cpp
Adding symposia.php
Adding symposia.sh
Transmitting file data .....
Committed revision 2.
jbork@alkibiades:~/src/symposia$ mv svn::192.168.0.100:symposia mistake-svn::192.168.0.100:symposia
[working code css]
Tonight meditation works through use and nature of Subversion. From this saved web page is enough information to answer technical use questions about Subversion, inviting a task-oriented approach to documentation and ultimately overall, cradle to grave design. That is, there is enough information saved here from the Firefox version 7.0.1 web browser to allow being led to http://subversion.apache.org/ from the [childish, simple, not-deep-knowledge] Google web search, and then to http://svnbook.red-bean.com/ to downloading and finally reading A version control system (or revision control system) is a system that tracks incremental versions (or revisions) of files and, in some cases, directories over time. from the index.html file in a subdirectory extracted from it, and finally encountering the copy-modify-merge solution as an ethical approach evolved from using computers as defined by Maner. In this context, let us continue reading from the file we downloaded over the Internet and now are using locally: Unlike a working copy, a Subversion repository is an abstract entity, able to be operated upon almost exclusively by Subversions own libraries and tools. Still looking to learn how to input symposia as a new project. Is it a new repository? Oh, that is how you do it; pay attention to the Subversion mkdir syntax, and do not be surprised when brought into an editor to enter a message with the commit.
5 3 1 (+) [-4+]mCQK bork-journal 20111113 20111113a 18 -30+ journal_2011.html
Ensoniment of Platos Symposium: Proposal for a Software Project
Near the beginning of Platos Symposium, the participants agree to dismiss the flute players and to avoid excessive intoxication in order to deliver a series of speeches on the topic of love. This turn of the plot could be interpreted as a requirement of the available media, for no sound recording or reproduction technologies existed in Platos day that could have captured the event apart from a written transcript. Yet more than other Platonic texts, the Symposium resembles a dramatic production that could be recast today in cinema or a multimedia, virtual reality environment. The latter option opens the hitherto mute world of classic texts to possibilities of ensoniment employing Jonathan Sternes term for which no originals exist. This proposal outlines a software project that integrates text encoding, speech synthesis, and the creation of multiple, concurrent auditory fields within the virtual space of an artificial world. Platos Symposium can be recast as a boisterous, computer-generated cacophony that humans experience as an audible phenomenon, rather a linear sequence of written characters whose audible characteristics must be imagined. I am giving the project the provisional name symposia to emphasize the multiplicity of media, speakers, and listening positions that will be actualized in the virtual reality environment. The basic technical requirements include:
text to speech in various languages
encoding of pacing and other audible features that are implicit in sound reproduction in source text
filtering of unmediated source text based on implied characteristics of virtual listener (age, social status, degree of intoxication, locus of desires, and so on)
spatialized generation of speech and other sounds with respect to current position of listener within the auditory field
traversal of listener in auditory field
delivery of final audible production in a physical or virtual reality environment
In order to further articulate the specifications for a software project, and arrive at feasible implementation options, design decisions need to be made that can be informed by sound studies, and engage philosophical debates concerning the phenomenology of the audible (for instance, to compute the explicit characteristic of human groups speaking such as distance between interlocutors), as well as notions of subjectivity and intelligibility that we have studied in our seminar. Each technical requirement raises questions. For example, speech synthesis is situated in a history precedes the invention of electronic devices. Current speech synthesis technologies typically rely on concatenative synthesis or formant synthesis, and each variation depends on an acoustic model that reflects implicit assumptions about the nature of sound in general, and human speech in particular. While this remediation of Platos script may not embody what Nietzsche meant by a musical Socrates, it will present a new way of doing philosophy with computers, and reintroduce conceptual complications that were eliminated by the constraints of early media practices in which the auditory field was transcribed into alphabetic script.
First, an example of what this project does not seek to address: marketing strategies. Consider Lee Tsangs recommendations for sound and music in website design. The project markets only to academics who insist seeing how it relates to their professional interests. Most will be interested in using the software, not why it was written. For Kieran Kelly to argue that
Except for the exterior physical design, every other aspect of the iPod development and build was obtained through interaction with external companies. . . . The technological potential, far from driving media hardware development, can be seen to trail a long way behind the interests of existing owners of the rights in both content and technology. The law itself provides instead an extremely well-developed mechanism for the control of the exploitation of the rights invested in their owners. ( Case Study: The Development of the Apple IPOD 196)
is an example of how the nature of the iPod is an outcome not only of technological capability, but also of who owns what in the form of ideas, including software, and who is prepared to make use of those ideas. To this relationship must be added the linearity of time: who is the first to develop, market, trademark and patent these ideas (193) is to also be obsessed with solving problems reduced to nothing, just like having to establish a non-FOSS software stack to use the software is avoided by using an all-FOSS environment. Thus Stallman goes so far as to only use computers whose low-level, physical parts are similarly licensed. By establishing a revision control repository on a popular public software development community (to add online seems unnecessary) licensing your creative work as copyleft, free, open source software, as defined by Stallman and instantiated in versions of the GPL, FDL, and CC licenses, you foreclose further controversy over the legal aspects of your software production often consuming corporate resources for other software development communities. You are in the pure realm of creativity where software design is imagination driven. Here we are imagining what a virtual or live-for-humans reality performing symposia from any and all texts being or related to Platos Symposium.
Consider the disposition of the symposiasts based on their initial seating arrangements explicitly stated or implied.
5 3 1 (+) [-4+]mCQK bork-journal 20111117 20111117a 61 -13+ journal_2011.html
Ensoniment of Platos Symposium
We have words for making sounds artificially like speech synthesis, but they refer to the making of the sounds, not the overall situated context in which they come about. What word describes the way sounds are produced in virtual realities, that reflects all of the aspects and nuances the sound is intended to possess? [Pass through Barthes, Chion, Altman to arrive at ensoniment.] Steven Connor, among others, provides support for considering virtual reality as fulfillment of synaesthesia dreams, as well as remediation of visual texts through ensoniment. To him, acoustic experience fits the postmodern subject better visual experience, which fits the modern subject, for the former remains open to rapturous exorbitance. While the postmodern concept of simulacra seizes upon signifiers with no primordial signified, representations with no original viewing, this ocularcentrism is accidental and not determinative. The possibility of speech synthesis as the quintessential auditory simulacra arose after the great postmodern theorists flourished, and the significance of creating speech mechanically extends only as far as sound reproduction technologies. How is it with speech spoken by no human? In The Audible Past, Jonathan Sterne presents a number of speech making devices fashioned before the age of electronics. No doubt there is an untold history of computerized text to speech synthesis as well.[10] This work, rather than being a history, will generate sounds, specifically, voices related to Platos Symposium. The specification of the software and hardware required to accomplish this can serve to highlight the theoretical assumptions regarding the nature of the auditory field in a manner that does not neglect the profound mediation played by technologies of ensoniment embodied in the human built environment. The theoretical arc I will follow travels from traditional sound studies into hybrid practices joining electronic engineering and computer programming, building on the theoretical work of Steve Goodman and Trace Reddell.
5 3 1 (+) [-4+]mCQK bork-journal 20111203 20111203 0 -69+ journal_2011.html
Display previous versions in the FDL documentation where the philosophical discussion occurs, noting it can also be obtained by selecting particular prior revisions from the source control system (for example, Sourceforge.net Subversion project repositories). Imagine beyond a unique integer key a float field the characteristics of whose decimal value reflects the language of the decontextualized media instance. Despite this flexibility, the basic encoding determining the whole component of these floating point values reflects the word by word (media instance) sequence of a particular version of the text in some particular language, or a translation. This is certainly the case with Platos Symposium: the instance in question here is a public domain English translation downloaded from Project Gutenberg with a file timestamp signifying the data contained in the server embodying a particular instance of its download, a file embodying a local copy of that other-possessed source. Acknowledging my computing experience today would be enhanced with Rosewill RKV-4UC 4 Port USB Cable KVM, 1.2m Cable Built with Speaker Mic Remote Flip Button from an online vendor, and that I am annoyed that a neighbor has started operating a loud small gasoline engine or electrical device disturbing the serene sonic environment I had been enjoying while sitting at the big table with the sliding glass door open writing. Give Grajeda a computer that automatically starts symposia repeating. The basic, implicit argument assumption is that a software design based on Sterne will likely focus on sound reproduction rather than text to speech synthesis. This is key to understanding why I am making the design decisions starting with eSpeak after free, open source GNU/Linux software (packages, binaries, or runnable, compilable human readable source code (C/C++, HTML, Perl, PHP, XML). It can be traditional, two channel stereo or five or more channel surround sound, such as the Dell laptop with the bad hard drive or the computer I retrieved from the neighbors trash. Then there is the unknown territory of multisound, dynamically refreshing directional visual field.
[working code css]
jbork@alkibiades:~/src/symposia$ vi Makefile
symposia: $(PROJECT).cpp espeak
jbork@alkibiades:~/src/symposia$ cat Appolodurus.txt
jbork@alkibiades:~/src/journal$ ssh ubuntu@192.168.0.103
ubuntu@ubuntu:/etc$ sudo apt-get install openssh-serverubuntu@ubuntu:~$ sudo vi /etc/init/rc-sysinit.conf
ubuntu@ubuntu:~$ sudo cp /etc/X11/default-display-manager /etc/X11/default-display-manager-gdm
ubuntu@ubuntu:~$ sudo vi /etc/X11/default-display-manager
(delete line containing /usr/sbin/gdm)
ubuntu@ubuntu:~$ sudo reboot
ubuntu@ubuntu:~$ mkdir src
ubuntu@ubuntu:~$ cd src
ubuntu@ubuntu:~/src$ sudo apt-get install subversion
ubuntu@ubuntu:~/src$ svn checkout --username=jbork59 svn+ssh://jbork59@svn.code.sf.net/p/symposia/code-0/trunk symposia-code-0
jbork@alkibiades:~/src/symposia$ make
make: *** No rule to make target `espeak, needed by `symposia. Stop.
jbork@alkibiades:~/src/symposia$ vi Makefile
jbork@alkibiades:~/src/symposia$ make sourceforge
`Makefile -> `sourceforge/symposia-code-0/Makefile
jbork@alkibiades:~/src/symposia/sourceforge/symposia-code-0$ svn commit -m "20111203"
Password:
Sending Makefile
Transmitting file data .
Committed revision 3.
ubuntu@ubuntu:~/src/symposia-code-0$ svn update
Password:
U Makefile
Updated to revision 3.
ubuntu@ubuntu:~/src$ svn co https://espeak.svn.sourceforge.net/svnroot/espeak/trunk espeak
jbork@alkibiades:~/src/espeak-1.45.05-source$ du -sh
1.2G .
jbork@alkibiades:~/src/journal$ df
/dev/sdb1 15104576 7350712 7753864 49% /media/JB16GB
(ellipsis during which process is repeated with 4 GB persistent area)
ubuntu@ubuntu:~/src/espeak/src$ rm portaudio.h
ubuntu@ubuntu:~/src/espeak/src$ ln -s portaudio19.h portaudio.h
ubuntu@ubuntu:~/src/espeak/src$ sudo apt-get install portaudio19-dev
ubuntu@ubuntu:~/src/espeak/src$ make
ubuntu@ubuntu:~/src/espeak/src$ sudo make install
ubuntu@ubuntu:~/src/symposia-code-0$ vi Makefile
$(PROJECT): $(PROJECT).cpp espeak
g++ $(PROJECT).cpp -I ../espeak/src -L ../espeak/src -lespeak -o$(PROJECT)
ubuntu@ubuntu:~/src/symposia-code-0$ make
ubuntu@ubuntu:~/src/symposia-code-0$ espeak "hello"
Cant read data file: /usr/share/espeak-data/phontab
Failed to load espeak-data
ubuntu@ubuntu:~/Downloads$ wget http://sourceforge.net/projects/espeak/files/latest/download?source=files
ubuntu@ubuntu:~/Downloads$ mv "download?source=files" espeak-1.46.01-source.zip
ubuntu@ubuntu:~/Downloads$ mv espeak-1.46.01-source ~/src
ubuntu@ubuntu:~/src$ rm -fr espeak
ubuntu@ubuntu:~/src$ ln -s espeak-1.46.01-source espeak
ubuntu@ubuntu:~/src$ cd espeak/src
ubuntu@ubuntu:~/src/espeak/src$ rm portaudio.h
ubuntu@ubuntu:~/src/espeak/src$ ln -s portaudio19.h portaudio.h
ubuntu@ubuntu:~/src/espeak/src$ make
ubuntu@ubuntu:~/src/espeak/src$ sudo make install
ubuntu@ubuntu:~/src/espeak/src$ ls /usr/share/espeak-data
af_dict da_dict es_dict hbs_dict intonations kn_dict mbrola_ph no_dict pl_dict soundicons tr_dict
bg_dict de_dict et_dict hi_dict is_dict ku_dict mk_dict pap_dict pt_dict sq_dict vi_dict
ca_dict el_dict fi_dict hu_dict it_dict la_dict ml_dict phondata ro_dict sv_dict voices
cs_dict en_dict fr_dict hy_dict jbo_dict lv_dict nci_dict phonindex ru_dict sw_dict zh_dict
cy_dict eo_dict grc_dict id_dict ka_dict mbrola nl_dict phontab sk_dict ta_dict zhy_dict
ubuntu@ubuntu:~/src/symposia-code-0$ espeak "hello"
Failed to read voice default
(ellipsis of redoing with version downloaded and used previously .. looks like the broke it in the new version!)
[working code css]
Do it in a script that starts with a shell session that opens on startup via automatic user login. Letter 1F00 Pi Omicron Lambda Lambda Omicron Sigma is what we hear when we execute the shell command espeak -f Appolodurus.txt. To do its preliminary work and make the one gigabyte persistence file and create an ext2 filesystem in it to the USB device I am modeling to give to Grajeda to instruct him how to use, perhaps by demonstrating on his x86-based laptop (unless he is a Mac user instead, in which case he would have to boot in a virtual machine). Booting without the GNOME graphical environment cuts memory usage in half; over half is free rather than less than a tenth. Noted the password change did not persist. Had to update Sourceforge from the netbook in order to pull it back down to the USB-based Ubuntu booted from the USB flash drive. Crap, this will not fit in the one gigabyte persistent area I created on the USB device when I made it. Have to redo it with a larger persistent area (4 GB), and the older version of the source code. Timely arrival of Hayles My Mother Was a Computer has relevance to symposia. Next from secondary course file, which may have been written before all this.
5 3 1 (+) [-4+]mCQK bork-journal 20111203 20111203a 69 -40+ journal_2011.html
Sterne gives an account of sound reproduction media that transcends discrete devices to the whole network of knowledge systems, power relations, and cultural norms that embody any example of sound reproduction. He stops short at the verge of synthesis, as sound production, besides brief mention in mechanical inventions of 1770-1790, by Alexander Graham Bell, before systematic sound studies shifted from the vocal tract to the ear (73-76). Thus Sternes analytical approach remains in the scope of reproduction: the ear listens, it does not originate sound like the human vocal tract. [An engineering design informed solely by his methodology, however, misses opportunities to reflect on the..] Things are otherwise in my remediation of his term applied to sound production versus reproduction. In terms of basic types of text to speech synthesis software designs, these are concatenative operations upon recordings of human voices. If the title shifts from The Audible Past towards The Audible Present, an alternate subtext to cultural origins of sound reproduction could be made in reference to the fact that [Sternes largely historical scholarship omits any reference to the work of N. Katherine Hayles. Hayles accepts primacy of voice among audible phenomena, although her subjugation to audio-visual litany, ocularcentrism, shapes her choices for inclusion in the discourse on electronic literature to primarily visual texts] as PHI sound production, alluding to discussion about the engineering design of speech synthesis systems. Before MSA is media specific being (species being) except in cases of imaginary media. (Notice how we use our fantasy notions of media to conceptualize and discuss immanently computable virtual reality simultaneous, concurrent programmed generation by electronic computer networks.) For the most part media come first and are used with minimal understanding of media specific affordances. Thus from visual symbols in written media the intellectual period known as the Enlightenment occurs. [As Sterne reminds us.. Actually real versus all imaginary is the axle on which being and analysis shimmer.] Again, for all but science fiction fantasies, media come first, then media analysis. At the border are world historical texts as media producing their own story. [Kittler on difficulty in understanding media revealing limit case of military technological determinism and Heraclitus. Sterne avoids the distorting attraction of this reductionism by appealing to cultural origins beyond any specific technological specifications, but at the cost of offering only generic, philosophical comments at the end of his historical treatise.] We are talking about the logical equivalence of what the ancients imagined, from which analysis emerges, to that which springs from itself in virtual realities [ous des of being (handwriting on palimpsest illegible)] mutating subjectivity with challenge of the many-at-once made possible by audible field generation, made possible by the inclusion of the auditory field to the visual analyzed in the Enlightenment and in subsequent analyses of the Enlightenment period and its media, which I will refer to as texts with the provision that early texts are mostly visual, and now also audio, in what for humans would be a synaesthesia (synesthesia). [Sterne goes only as far as interchangeability of senses in telegraphic practices (143); Connor defines as correspondence of the different senses but does hint at digitization and consequent universal convertibility of information makes actual what was dreamt in late nineteenth century (207;221). Goodman notes same passage (216n9). Virtual reality as fulfillment of synaesthesia dreams. Musical Socrates. Also offers possibility of remediating linear, visual texts in experimental auditory fields. I may be misusing word when I mean simply our modern concept of multimodal, audio plus visual media. References in Goodman are much more fruitful (9; 47-48; especially 150; 204n14 on Massumi Parables of the Virtual). Compare to being more familiar with the written translation while hearing for the confusedly first time the original Greek text in one of the periphery concurrent auditory channels of symposia.]
By focusing on sound reproduction, Sterne allows the grain of the voice to be dessicated along with other interiorities specific to its embodied subjectivity. Though providing a convincing argument based on historical evidence that Kittlers military technology determinism of media fails to account for the media consumed by humans while equipped in so called souls, his trajectory is still determined by the culture at large voting with their attention to the dominant technologies of an age in a society; preference over origination. I am arguing in this text and demonstrating with the symposia software project that the audible present is malleable and capable of affecting human subjectivity in ways as profound as the visual past did through virtual reality production via writing.
I mean more than transcending boundaries of ocularcentric epistemology and propose an ensoniment of scholarly activity that has previously been silent. That is why Platos Symposium is the quintessential PHI for a text to speech software project. Even if deprived of privileged positions as technology consumer, for instance in military-grade virtual reality audiovisual games, the polyphonic, many-at-once is where the audible outperforms the visual at the threshold of awareness, perception, and finally intelligence. We can experience it in virtual realities like symposia and other far out, bazaar software projects designed to present digital humanities inspired presence of an experience initially encoded for visual consumption, being a long sequential text read or heard one word at a time while walking or motionless (taken on the complexion of the dead). This participatory, user-centered approach engages Adorno and Baudrillard, who criticize modern consumer media as a one-way broadcast. Think of this project as a Deleuzean war machine assaulting the digital humanities subjectivity with many-at-once, polyglot audiovisual production.
While it might be possible to create such sonic virtual realities without speech synthesis software, the variations of autogenerated performances (adopting Reddells theme) are only feasible for programmed works.
5 3 1 (+) [-4+]mCQK bork-journal 20120209 20120209 1 -23+ journal_2012.html
There are two basic layouts of the Symposium speakers, straight line or angled seating (in cases in which Agathon has a large table; there could have been multiple small groups, although the layout does not change much besides allow Aristodemus to be situated closest to equidistant from all the speakers for perfect fidelity and accurate speech to text conversion). In each case the position of Aristodemus hearing each speaker varies over a two dimensional [mildly three dimensional] range of possibilities for the position of each sound source (speaker). Doing this ensoniment experiment to explore philosophical questions (ontological queries, nature of computing, intelligence, and so on answering Socrates following von Neumann) with machines is new to philosophy, and it is (may be) noticed in popular digital culture studies, for we assume he did not move around to best hear each speech. It was a drinking party, not a professional conference. The original text suggest a likely layout of the position of the speakers relative to where the primary listener and recorder of the event, Aristodemus, was located. The speech of Phaedrus, the furthest from his ears, is the least distinct, and those of Agathon, Socrates, and Alcibiades are the most. This is a very quick analysis. There are probably other seating arrangements, and classicists could provide insight as well. Then there is the overall frame of Apollodorus and you, the reader companion who may be repeating a long walk as if reading or hearing the whole story delivered to you as if by a Walkman. Hello culture studies (Benjamin Bogost cites and du Guy on second list). We can call ridiculous the question whether the text reflects awareness and exploration of the media specific affordances and constraints of its embodiment as a written artifact of Platos milieu. However, I want to suggest there is enough evidence from repeated reading of the text to warrant experimenting with its ensoniment, creating an audible phenomenon the writing literally encodes, in order to answer this putatively impossible question. It seems like it is aligning; the connections are beginning to hold and the text is written read and read eternally is a computable statement for which we write software such as symposia the ensoniment of Platos Symposium. Alicibiades is the winner of controlling metanarratives now that computing has caught up with story telling including text to speech synthesis like this. We need media theories that do not bow cowardly to technology as even fierce intellectual warriors like Kittler and Manovich avoid, explicitly reject, high speed process control system programming as a form of humanities research and scholarship. [That may be a little too strong to state without succinct references.] That is the gist of my recent thoughts. We may be enchanted by unfolding critiques of the wandering style versus what Alcibiades delivers as a resonant (see Sterne on tone multiharmonics) product of the specific media with which it was composed in addition to how it has been transmitted as written marks and reproduction machines, and exists today on the Internet. However, there is also material that produces sound synthetically, possibly by combining samples, possibly via formant, computer generated real phenomena within an envelop of volume, rate, pitch, and so on. [What it means is another analytical dimension. How speech ranges over language is another question altogether, as Barthes intends in the second out of three types of hearing.] Imagine superimposing the higher speed console on the lower speed nondeterministic user space HTTP (that is, web surfing activity) of the seating diagrams and the progress of the walkers Apollodorus, Glaucon, and you the reader the companion. The imagined visual phenomenon can be dynamically generated by PHP based on the statistical display creator from pmrek.
5 3 1 (+) [-4+]mCQK bork-journal 20120225 20120225 0 -41+ journal_2012.html
The programming work tonight is to test the new control of volume and implementation of functions that achieve the previous enumeration of goals for the physical operation of the system, which in this case produces human text to speech synthesis of ancient Greek letters speaking of Platos Symposium. Your question does not leave (or meet) me unprepared, for just the other day I repeated it to Glaucon and then you interrupt somewhere before the hundredth lexia. Use the event scroller from pmrek to display time stamps and scroll upward eventually showing huge number of bits UTF8 Greek text but for now English translations as ordinary seven bit ASCII text. Control the rate via reading the rate from the database as either a multiplier or literal value when it is not zero. The signified value read from the database may be either a multiplier of the current rate or an absolute (that is the word I was looking for above as literal value). This is software development consuming philosophy in the symposia project source code as MySQL dump files Lexia and Speaker. Therefore, the content in this database, once reanimated, is also copyleft by the GPL and me. Besides reordering the enumeration of the speakers, the rate sent to ensound that is now one and a half, one point five, needs to be reconfigured. Into working code we go.
[working code CSS]
jbork@alkibiades:~/src/symposia$ vi symposia.h
#define DEFAULT_RATE 100
//#define DEFAULT_RATE2 1.5
#define DEFAULT_RATE2 1.0
jbork@alkibiades:~/src/symposia$ vi symposia.cpp
int process(int speaker_number, int rate, int volume, int pitch, int range, char * voice, char * language)
double current_lexia = 0, new_current_lexia = 0, new_rate;
(ellipsis)
sprintf(buf, "select Volume from Speaker, Rate where PHI=%f", effective_speaker_number);
(ellipsis reprenting temporal order of code work)
ALTER TABLE `Poll`.`Speaker` MODIFY COLUMN `Rate` DOUBLE NOT NULL DEFAULT 0;
jbork@alkibiades:~/src/symposia$ vi start.symposia.sh
DEFAULT_RATE=100
RATE=$DEFAULT_RAT
SQL="update Speaker set CurrentLexia=$START_POS, Rate=$RATE where PHI=$SPEAKER"
SQL="update Speaker set CurrentLexia=$START_POS,InternetHost=,Rate=$RATE where PHI<($MY_M_V+1)"
jbork@alkibiades:~/src/symposia$ vi symposia-console.cpp
SpeakerVolWin = newwin(24, 3, 1, 45);
panels[5] = new_panel(SpeakerVolWin);
SpeakerRateWin = newwin(24, 3, 1, 49);
panels[6] = new_panel(SpeakerRateWin);
(ellipsis)
if(new_rate < 10.0)
{
mysql_free_result(result2);
sprintf(buf, "select Rate from Speaker where PHI=truncate(%f,0)", effective_speaker_number);
[working code CSS]
Start by looking at the header file. On line thirty five it is defined as one point five. I want this to be computed from the database instead. This is another fundamental design question, whether to control the other language speaker rates as multiples of a common, constant base Greek speaker rate, or absolute values, as sent to the text to speech synthesizer (see example in FDL project documentation when not reading directly from GPL code). Assume that the rate coming in to the ensound function from the main process function for the speaker language combination is the base Greek rate of the first language speaker, which is currently always ancient Greek. Read it at the same place that Volume is read before each enunciation call to ensound. In fact I left a TODO comment earlier today which is why the time stamp is already there before the TODO remarks other parameters to do this. It turns out that an absolute value must be sent to ensound since the base rate is not being sent as a separate parameter; that is, we confusing this whether this rate can be a multiplier or ration with wether the values stored for each PHI in the Speaker table for Rate can be a multiplier or ratio. However, to achieve this more data must be queried (to get the Greek speaker rate to which to apply the value read for the second speaker for which it is being calculated. The table schema has to be changed from integer to double for the Rate column. Jump to the start script and add code to set the rate for the speaker. In the middle of this stuff I realize the console needs to be wider, more than eighty columns. Time to go beyond this magic value reminiscent of old Apple and all the other eighty column displays. Three for volume, one divider, four for rate, one divider is nine; take it an even ten. Further down the bunny hole from symposia.cpp to start.symposia.sh now digressing into symposia-console.cpp. This turns out to be tedious because it requires adding to the array of panels, and remembering there is special code for the last two panels, and they are referenced by their hard coded integer array index. Another console command to consider is an intelligent pause that sets the main speaker Apollodorus (or whichever is the current speaker) to zero but remembers where it was to resume. No, this is not enough. Something like a race condition must be intentionally established so that no speaker advances, at least one is always delayed and it itself is waiting on another.
5 3 1 (+) [-4+]mCQK bork-journal 20121211 20121211 0 -22+ journal_2012.html
Human nature, limit in general, takes the enumerative combinatorial perspective of not knowing how to make background soundscape as virtual phenomenal audible field as represented in Symposium ancient text that is also philosophy of computing through Phaedrus text, A and B are ancient texts taken as ideological constants (ICs), which may include SCRs (inviting discussion of electronic devices including thyristor, transistor, diode and basic electric devices resistors, capacitors, and inductors). Two basic collections of systems generate soundscapes within virtual realities and visionscapes within virtual realities. I am homing in on formant synthesis and custom tapoc code producing those virtual realities PHI. On branch of software studies sound creation others images and text, these basic software machines include software studies of consumer software used to produce and consume media. Pinballs are in the middle by involving both making real virtualities and real realities indistinguishable in playback form of equivalent to pmrek log files. Sound and vision production both go into pinball control understanding. The goal is to get this to display via HTTP TCP/IPv4 early (UNIX style 32 or 65 bit timestamp, noting different virtual realities) browser query. Going into working code.
[working code css]
jbork@alkibiades:~/src/tapoc$ ls -l tapoc.html
-rw-r--r-- 1 jbork jbork 549594 Dec 11 19:27 tapoc.html
jbork@alkibiades:~/src/tapoc$ sudo make web-localhost
do not run as root user on cybersage workstation
make: *** [web-localhost] Error 1
jbork@alkibiades:~/src/tapoc$ vi build.tapoc.sh
elif [ "$USER" == "root" -o `id -u` -eq 0 ]; then
if [ ! -d /home/$CYBERSAGE_USER -a -d /home/$PROJECT/public_html/progress ]; then
echo "root user: updating webserver"
echo " should not have got here; was do not run as root user on cybersage workstation"
exit 1
rsync --archive --verbose /home/$PROJECT/public_html/progress /var/www/
else
echo "default action is to copy $PROJECT.html to the root webserver path"
cp -av $PROJECT.html /var/www/
fi
exit 0
[working code css]
Coming out of working code. This is an example of doing philosophy of computing by programming, answering the Nietzschean how does one philosophize with a PHI, where PHI is the computing technology of the time. Derrida is the traditional postmodern digital emigrant or immigrant humanities scholar, thus the page appearing like shimmering signifiers of Hayles posthuman cyborg cybersage cognitive-embodied processes leads to writing for humans rather than working code, writing for machines, programming twenty percent of the time as a bound imagined in alternative successor histories from the 1940s, 1950s, 1960s, and so on, through the 2010s when this dissertation work was done. Nonetheless, it is Derrida who writes about using his computer and wondering what psychoanalysis under email would have been like, and writes of making games (paidia). Thus my exit from Derrida aporias conundrums and lengthy texts shifts emphasis to virtual reality generation via the public symposia foss project available on Sourceforge. Note that to run symposia is to gather ten computers or develop new virtual reality generation machines to enact their sonic phenomena heard from a spatial constant. So it is no surprise that the beginning of Platos Pharmacy contains hyperlink residue of starting with Kolaphos as if continuing after a jump from another text.
5 3 1 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (306) 20131026a 0 -3+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Tonkiss: perhaps spoken and written language bias symptom of available media before computable text and sound, that is, recent print literature: new thinking possible with sound reproduction artifacts and technologies. (306) Walter Benjamin had that knack for making cities speak and sing. He souvenired sounds from different places, composed urban vignettes as if they were aural postcards.
(306) In these ways, sound threads itself through the memory of place.
5 3 1 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (307) 20130909 0 -6+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Tonkiss: we get to include sounds with writing, which texts and technology studies correctly recognize, but have to also include programming; Sterne gives us a methodology, but working code must also be written, we (humanities scholarship) must go beyond literary criticism into technomedia learning and practicing programming. (307) Hearing has its own relation to truth: to testimony, to spoken evidence, to placing trust in words rather than in images, to accepting things that are promised, even if they cannot be shown. Hearing likewise involves a special relationship to remembering. It might, as Benjamin says, be the sense of memory. . . .
5 3 1 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (331) 20110917 0 -7+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Thibaud: comparison to reading while walking, reading in public had seeing to public secret as hearing to public secret: who would think that two people talking while walking would be reading aloud? (331) The third movement is from private listening to public secret. . . . The problematic nature of these phenomena can be explained by the fact that they render public by not following them the social codes from which the expressive order of the body constitutes a shared signifying system.
(332) These preliminary remarks bring us to consider the way public places are experienced. It requires thinking in terms of thresholds, knots, and configurations.
5 3 1 (+) [-4+]mCQK bull_and_back-auditory_culture_reader (346) 20110927 0 -6+ progress/2011/08/notes_for_bull_and_back-auditory_culture_reader.html
Bassett: Crary gives us imaginary virtual of Zizek; use these two concepts of Crary and Perec to refute a sloppy pronouncement by Manovich. (346) The second approach I make is centered on the inventory and here I begin with the concept of the inventory as developed by Georges Perec, another French theorist of the everyday. . . . For Perec the inventory offers a means by which to codify experience and thereby to recall and record various aspects of everyday life. In his hands, however, the inventory is not ultimately a reductive codification but rather an expansive narrative process.
5 3 1 (+) [-4+]mCQK chion-voice_in_cinema (5) 20130908 0 -4+ progress/2011/10/notes_for_chion-voice_in_cinema.html
Vococentrism implications to virtual reality generation machines like symposia, which may posit machinic scansion, intelligibility; Weizenbaum, Lyotard and others would argue that disembodied machine cognition cannot share such experience. (5) In actual movies, for real spectators, there are not all the sounds including the human voice. There are voices, and then everything else. In other words, in every audio mix, the presence of a human voice instantly sets up a hierarchy of perception.
(6) Human listening is naturally vocoentrist, and so is the talking cinema by and large.
5 3 1 (+) [-4+]mCQK chion-voice_in_cinema (11) 20111116 0 -1+ progress/2011/10/notes_for_chion-voice_in_cinema.html
Opening for symposia to provide cinematic presentation leveraging never before possible sounds from written symbols. (11) Today our brains are entirely accustomed to plugging sounds into whatever images we see sounds whose real localization is much more dispersed and dissociated with respect to what we see.
5 3 1 (+) [-4+]mCQK connor-modern_auditory_i (215) 20130913d 0 -7+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Sound reproduction technologies had to arrive before noise could be colonized, whereas image reproduction technologies existed long before. (215) This analysis coheres well with Jacques Attalis explication o the larger cultural process whereby noise is captured, socially ordered and then, as music, used to order social life. . . . Attali suggests that the most important factor in the move from noise to music, which he sees in Adornian fashion as an important part of the coming of the wholly administered society, is the development of technologies for reproduction.
(216) But Attalis analysis of the remorseless colonization of noise by formalized music is insufficiently attentive to the intertwining of auditory rapture and acoustic capture at the levels both of psyche and society. The two alternatives are dramatized in the contrast between the telephone and the phonograph, in their respectively diffusive and reproductive capacities.
5 3 1 (+) [-4+]mCQK connor-modern_auditory_i (217-219) 20130913e 0 -9+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Telephone and phonograph perform two different operations that seem masculine and feminine according to Attali. (217-219) One can see a psychocultural response to this kind of threat in the attempt to separate out the two techno-acoustic aspects represented by the telephone and the phonograph, distinguishing the active and excursive self-augmentation of the voice from the deathly passivity of its mechanical replication; these two aspects are strongly gendered as masculine and feminine respectively. . . . This opposition between the fantasy of androtelephonic as opposed to gynophonographic sound is found in different forms throughout the late nineteenth and twentieth centuries. . . . In running together a history of the coming of sound to the cinema with a narrative about the technical manufacture of a female voice, a file like Singin in the Rain establishes the close relation between gender and technology in the production of the voice.
5 3 1 (+) [-4+]mCQK connor-modern_auditory_i (221) 20111116 0 -3+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Virtual reality as fulfillment of synaesthesia dreams, musical Socrates, possibility of remediating linear, visual texts in experimental auditory fields. (221) Where early modern technologies extended and amplified the powers of ear and eye, contemporary technologies offer the prospect of sensory recombination and transformation as well. The digitization and consequent universal convertibility of information may make the synaesthesias dreamt of by the late nineteenth and early centuries a common actuality, creating new aggregations of the visual, auditory, haptic and olfactory senses.
(221-222) We might expect a modern self to understand itself as what Chion calls an acousmetre, which he defines in cinematic terms as an acoustic agency whose position with respect to the screen is undecidable, in that it is present and audible and effective within the visible scene, but is not seen to speak.
5 3 1 (+) [-4+]mCQK connor-modern_auditory_i (223) 20130913g 0 -1+ progress/2011/08/notes_for_connor-modern_auditory_i.html
Examples in literature of the acoustic usurping vision dominant epistemological position. (223) Read from the perspective of the still incipient future of the displaced eye, The Unnamable seems like a kind of premonition of what it might be like, not only to suffer, but also to have found a means of subsistence and self-invention in the condition of ontological insufficiency consequent upon the demotion of the eye and the values associated with it.
5 3 1 (+) [-4+]mCQK crane-classics_and_the_computer (53) 20131028 0 -1+ progress/2012/03/notes_for_crane-classics_and_the_computer.html
Ocularcentric fantasies for the coming golden age of philology with no mention of audio potential. (53) These include not only virtual reality displays and geographic information systems but also automatically generated timelines and other data visualization techniques.
5 3 1 (+) [-4+]mCQK deleuze_guattari-thousand_plateaus (43) 20130915c 0 -1+ progress/2013/04/notes_for_deleuze_guattari-thousand_plateaus.html
Mentions Hjelmslev who is important to Tanaka-Ishii initially in the context of the silly Challenger narrative, a version of the Platonic dialogue virtual reality phenomena representation. (43) Challenger took offense, preferring to cite his friend, as he called him, the Danish Spinozist geologist, Hjelmselv, that dark prince descended from Hamlet who also made language his concern, precisely in order to analyze its stratification.
5 3 1 (+) [-4+]mCQK derrida-dissemination (3) 20130915 0 -1+ progress/2012/02/notes_for_derrida-dissemination.html
We can study how Derrida assembles texts, although his method if converted to software would nonetheless be bounded by recognizable characteristics, enframed as these texts however they were assembled are dynamically made present in virtual realities; he admits the book form cannot effectively theorize what I will concretize decades of thoughts as computational media, including that which which he writes his books. (3) the book form alone can no longer settle here for example the case of those writing processes which, in practically questioning that form, must also dismantle it.
5 3 1 (+) [-4+]mCQK derrida-dissemination (70) 20130915f 0 -5+ progress/2012/02/notes_for_derrida-dissemination.html
Pharmakon writing antisubstance resisting philosopheme: what does it mean now that this mysterious antisubstance is instantiated in the transformation of source code to machine instructions for execution by alien beings (Bogost)? (70) Only a little further on, Socrates compares written texts Phaedrus has brought along to a drug (pharmakon). . . . The pharmakon would be a substance with all that that word can connote in terms of matter with occult virtues, cryptic depths refusing to submit their ambivalence to analysis, already paving the way for alchemy if we didnt have eventually to come to recognize it as antisubstance itself: that which resists any philosopheme, indefinitely exceeding its bounds as nonidentity, nonessence, nonsubtance; granting philosophy by that very fact the inexhaustible adversity of what funds it and the infinite absence of what founds it.
5 3 1 (+) [-4+]mCQK derrida-dissemination (74-75) 20130915i 0 -8+ progress/2012/02/notes_for_derrida-dissemination.html
Derrida does not tarry on the response by Phaedrus to Socrates question of whether they could discover the truth themselves rather than inquire what the ancients said in myth: seems like flip side of C compiler self-compilation account given by Tanaka-Ishii, an inevitable programmed outcome. (74-75) The truth in writing, that is, as we shall see, (the) nontruth, cannot be discovered in ourselves by ourselves. And it is not the object of a science, only of a history that is recited, a fable that is repeated. . . . One thus begins by repeating without knowing through a myth the definition of writing, which is to repeat without knowing. This kinship of writing and myth, both of them distinguished from logos and dialectics, will only become more precise as the text concludes. Having just repeated without knowing that writing consists of repeating without knowing, Socrates goes on to base the demonstration of his indictment, of his logos, upon the premises of the akoe, upon structures that are readable through a fabulous genealogy of writing.
5 3 1 (+) [-4+]mCQK derrida-dissemination (95) 20120319 0 -6+ progress/2012/02/notes_for_derrida-dissemination.html
The pharmakon is the program and the pharmakeus is the programmer: make this detailed positioning of Platonic portrayal of Socrates, including the accusation of Agathon, the story of Diotima in which Eros is likened to Socrates, and Alicibiades portrait of Socrates. (95) The word pharmakon is caught in a chain of significations. The play of that chain seems systematic. But the system here is not, simply, that of the intentions of an author who goes by the name of Plato. The system is not primarily that of what someone meant-to-say {un vouloir-dire}. Finely regulated communications are established, through the play of language, among diverse functions of the word and, within it, among diverse strata or regions of culture.
(96) The possibilities and powers of displacement are extremely diverse in nature, and, rather than enumerating there all their titles, let us attempt to produce some of their effects as we go along, as we continue our march through the Platonic problematic of writing.
5 3 1 (+) [-4+]mCQK derrida-dissemination (117) 20130916c 0 -4+ progress/2012/02/notes_for_derrida-dissemination.html
Make this part of symposia programming (code and configuration) to accentuate the dimensions of the arguments being made about venomous Socrates. (117) In that same dialogue, Agathon accuses Socrates of trying to bewitch him, to case a spell over him (194a). The portrait of Eros by Diotima is placed between this exclamation and the portrait of Socrates by Alcibiades.
(118-119) And when they dont act like the venom of a snake, Socrates pharmaceutical charms provoke a kind of narcosis, benumbing and paralyzing into aporia, like the touch of a string ray (narke): [quoting Meno] In my opinion you are well advised not to leave Athens and live abroad. If you behaved like this as a foreigner in another country, you would most likely be arrested as a wizard (goes).
5 3 1 (+) [-4+]mCQK derrida-dissemination (138-139) 20130123 0 -13+ progress/2012/02/notes_for_derrida-dissemination.html
Compare phantasma simulacrum of writing to discretization in programming and transcoding and Sterne resonant tomb, including significance of being quasi magical operations by technical wizards. (138-139) In general, phatasma (the copy of a copy) has been translated as simulacrum. He who writes with the alphabet no longer even imitates. No doubt because he also, in a sense, imitates perfectly. He has a better chance of reproducing the voice, because phonetic writing decomposes it better and transforms it into abstract, spatial elements. This de-composition of the voice is here both what best conserves it and what best corrupts it. . . . Ambivalent, playing with itself by hollowing itself out, good and evil at one undecidably, mimesis is akin to the pharmakon. No logic, no dialectic, can consume its reserve even though each must endlessly draw on it and seek reassurance through it.
(139) And is it happens, the technique of imitation, along with the production of the simulacrum, has always been in Platos eyes manifestly magical, thaumaturgical.
(140) The antidote is still the episteme.
(140) The work pharmakon, then, also designates pictorial color, the material in which the zoographema is inscribed.
5 3 1 (+) [-4+]mCQK derrida-dissemination (143-144) 20130916j 0 -6+ progress/2012/02/notes_for_derrida-dissemination.html
Versus artificial languages, writing is death, fixed; programming permits dynamic production of auditory and visual phenomena capable of supporting living writing imagined by ancients such as Plato in Phaedrus. (143-144) Writing is not an independent order of signification; it is weakened speech, something not completely dead: a living-dead, a reprieved corpse, a deferred life, a semblance of breath. The phantom, the phantasm, the simulacrum (eidolon, 276a) of living discourse is not inanimate; it is not insignificant; it simply signifies little, and always the same thing. . . . Uprooted, anonymous, unattached to any house or country, this almost insignificant signifier is at everyones disposal, can be picked up by both the competent and the incompetent.
5 3 1 (+) [-4+]mCQK derrida-dissemination (145) 20130916k 0 -7+ progress/2012/02/notes_for_derrida-dissemination.html
Consider how machine protocols situate and enforce privileges to uprooted writing; interesting link of orgy of democracy to cathedral and bazaar of FLOSS. (145) Democracy is orgy, debauchery, flea market, fair, a bazaar (pantopolion) of constitutions where one can choose the one to make ones own (Republic 557d).
(145) Desires, says Plato, should be raised like sons.
(145-146) Writing is the miserable son. . . . His impotence is truly that of an orphan as much as that of a justly or unjustly persecuted patricide.
5 3 1 (+) [-4+]mCQK derrida-dissemination (149) 20130916n 0 -11+ progress/2012/02/notes_for_derrida-dissemination.html
Really about two kinds of writing, an easier discussion today when meaningful distinctions between computationally intensive versus contractive communication forms for writing communication can be made (Applen and McDaniel). (149) According to a pattern that will dominate all of Western philosophy, good writing (natural, living, knowledgeable, intelligible, internal, speaking) is opposed to bad writing (a moribund, ignorant, external, mute artifice for the senses). . . . Metaphoricity is the logic of contamination and the contamination of logic. . . . then it can be said that philosophy is played out in the play between two kinds of writing. Whereas all it wanted to do was to distinguish between writing and speech.
(149) at the risk of dissemination.
5 3 1 (+) [-4+]mCQK derrida-dissemination (163) 20130916v 0 -3+ progress/2012/02/notes_for_derrida-dissemination.html
Contrast need of writing for play to mechanism provided by the Symposium to simulate multimedia (Castells real virtuality). (163) The play of the other within being must needs be designated writing by Plato in a discourse which would like to think of itself as spoken in essence, in truth, and which nevertheless is written.
(164) It takes superhuman strength. And one runs the risk of madness or of being considered mad in the well-behaved, sane, sensible society of grateful sons.
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (375) 20130916 0 -8+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Was this brilliant conclusion on constituting sound corrupted after admitting that there are always sounds when there is embodiment, and silence is a decibel level beneath which body sounds like those Cage reportedly discovered in an anechoic chamber: what about the characteristics of programmed sound generation that exist in both sound and silence in virtual realities, are these not also involved in both sound and silence? (375) And this he did by using silence to separate one section of a composition from another (CC, p. 51), instead of the traditional structural device of harmonic cadence. Realigning the parameters of the tone (pitch, amplitude, timbre, and duration), Cage placed duration in the position pitch normally occupies within the tonal hierarchy. Duration, substituting for pitch, was then the correct structurizing principle for musical composition, correct not on the basis of a contingency (Cage happened to like silence or he didnt happen to have a good ear) but on the basis of necessity.
Sound has four characteristics: pitch, timbre, loudness, and duration. The opposite and necessary coexistent of sound is silence. Of the four characteristics of sound, only duration involves both sound and silence. Therefore, a structure based on durations (rhythmic: phase, time lengths) is correct (corresponds with the nature of the material), whereas harmonic structure is incorrect (derived from pitch, which has no being in silence).
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (375) 20130916d 0 0+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Cage was fascinated by electronic devices, but did not write computer software empowered by a background environment producing the rest of the auditory field he pretended unable to imagine: recall how Sterne carefully extends the reach of technological systems when he interprets discrete constituent elements like specific models or family classes like telephones to include the entire chain of systems supporting its existence in any particular instance, including tone tests, electrical distribution, legal institutions, and capitalist businesses. (375)
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (381) 20131028 0 -5+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Does his argument hinge on our buying into the quasi-object theory to apply it to going further by writing software and building sound systems? (381) The radio also emits both the sound and history of audiophony, making audible those mystical traces surrounding the latters inauguration in the nineteenth century. . . . Thus in the imaginary of Imaginary Landscapes, sound occupies the non-space of electronics, possesses the nonbeing of the invisible and intangible, and releases the spirit, not of objects, but of the quasi-objects that constitute technology and are themselves permeated by the animating force, or spirit, of electricity?
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (382-383) 20130908 0 -2+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Listening to symposia interpolates auditory field in example of visual equivalent of cacophony, forbidden in good reading and thus good handwriting (Baron, whom I criticized severely for wasting my time reading the first half of Better Pencil). (382-383) His evacuation of the self through the practice of nonintentionality suggests the kind of subjectivity required to let sounds be themselves, and this subjectivity, by embracing sound without imposing intentions or values, is more aligned to listening, to the way in which sound infiltrates the ear and is beyond the ears control, than to seeing, with its mechanisms for projection directing the seen always to be controlling eye/I of the seer.
(386) Object would become process; we would discover, thanks to a procedure borrowed from science, the meaning of nature through the music of objects.
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (382) 20130916b 0 -1+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
What better place let sounds be than virtual realities where we can make statements such as symposia mixing design note avoid having same grain or voices will be indistinct? (382) But for Cage, a process is not simply a state of being; it is also a metaphor for ideal artistic practice, a practice that integrates the artist with sounds in themselves in a continuum of creativity and creation.
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (400) 20111104 0 -3+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Enter Kittler and Manovich: software takes command in electronic sound. (400) By inhabiting the netherworld of electronics on the one hand, and the metaphorical/paradoxical interstices of language, the very limits of representation, on the other, it is able to represent both the Ur-silence, the sound of unintentionality, and the sound in itself, as it represents only itself, from a still living but also detached perspective. Thus there is no more discourse. Instead electronics (FTB, p.
5 3 1 (+) [-4+]mCQK dyson-the_ear_that_would_hear_sounds_in_themselves (401) 20130916c 0 -2+ progress/2011/11/notes_for_dyson-the_ear_that_would_hear_sounds_in_themselves.html
Again Kittler sustains this image of extreme technological determinism by scoffing at souls whose intentions may exceed their ontogenetic influence; my argument begins with noticing another characteristic domain of both silence and sound when they exist in virtual, computer-generated, audiovisual-and-other-senses worlds, their technological embodiment, as the new place to study and sniff for Being. (401) Within this configuration the perceiver is also rendered invisible, becoming a subject who, lacking intentionality, is bound to act only via the prostheses and spaces that technology supplies: the loudspeaker, the computer, and the audiophonic and informational interface. Yet by those same prostheses the subject is able to inhabit a domain usually reserved for the dead, able to speak the unspeakable usually reserved, as Nietzsche said, for the deific or for music.
5 3 1 (+) [-4+]mCQK fuller-software_studies (233) 20130923l 0 -1+ progress/2011/10/notes_for_fuller-software_studies.html
Sonic Algorithm: artificial life techniques used in music software aims at creative contingency in precoded work. (233) In summary, then, the development of artificial life techniques within music software culture aims to open the precoded possibilities of most applications to creative contingency.
5 3 1 (+) [-4+]mCQK golumbia-cultural_logic_of_computation (96) 20130816g 0 -11+ progress/2013/08/notes_for_golumbia-cultural_logic_of_computation.html
Problems of intonation and suprasegmental melodies in text to speech synthesis and recognition cross into territory of Barthes grain of the voice, although most research focuses on written text as basis. (96) Among the best-studied and most interesting issues in TTS is the question of intonation. . . . Human speakers and hearers use these tonal cues constantly in both production and reception, but the largely analog nature of this intonation and its largely unconscious nature have made it extremely difficult to address, let along manage, in computational systems.
(97) The correspondence between apparently linguistic tokens and suprasegmental melodies is something that computational researchers have hardly learned how to manage for purposes of recognition, to say nothing of natural language generation.
(97-98) Instead, putting aside the difficulties in this aspect of speech production, most CL and NLP research from the 1960s until recently has bypassed these issues, and taken the processing of written text in and of itself as a main project. . . . By focusing on written exemplars, CL and NLP have pursued a program that has much in common with the Strong AI programs of the 1960s and 1970s that Hubert Dreyfus (1992), John Haugeland (1985), John Searle (1984, 1992), and others have so effectively critiqued.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (9) 20130921 0 -10+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Goodman looks to primacy of synesthetic due to the presence of the beyond of perceptible sound thresholds (infra and ultra sonic); also question of how many sounds can be perceived, decoded, and listened to at once. (9) Some attempts have refocused phenomenologically around the concept of audition. However, probing deeper than the merely auditory, the vibratory materialism developed here focuses, before human hearing, on the primacy of the synesthetic. . . . Any definition of sonic culture must synesthetically take into account that which exceeds unisensory perception, that which impresses on but is exterior to the sonic. . . . On the frequency spectrum, bounding the thresholds of perceptible sound (above 20 hertz and below 20 kilohertz), where sonic perception becomes intermodal or defunct, lies infrasonic and ultrasonic wave phenomena.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (14) 20111108 0 -6+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Acoustic cyberspace model of Erik Davis may begin with positionality also implicit in vision perspectivality, so nearby sonic transducers simulated in a binary (all the way to bipolar, digital to analog) left and right channel simulating 360 degree as two 180 degree halves representing stereoscopic vision. (14) In his key late 1990s essays reframing the concept of acoustic cyberspace, Erik Davis described how contemporary conceptions of virtual reality were trapped in a visual model of space inherited in particular from Descartess split between the mind and the body, whereby the self transcends space, is detached from it, surveys it panoptically, as a disembodied vision machine (where I is synonymous with eye ). . . . Instead, Davis, in parallel to Kodwo Eshuns analysis in More Brilliant Than the Sun, drew from the polyrhythmic nexus of acoustic space, in order to develop an alternative version of virtual space, one that is sonic but, more than that, is essentially invasive, resonant, vibratory, and immersive. In this vibrational ecology, the sensual mathematics of a rhythmachine possesses the affective sensorium, inserting itself amodally (between the senses), generating a polyrhythmic nexus.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (47) 20130921a 0 -16+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Synesthesia is primary to exteroception. (47) Sonic warfare therefore is concerned with the generation, modulation, and dampening of vibrational carrier waves of sonic affect. . . . If amodality is taken to ontologically precede the designation of a sensation to a specific exteroceptive sensory channel (the five senses), then the clinical conception of synesthesia would have to be inverted from pathological condition to foundational of the affective sensorium. . . . Interestingly, many ascribe to the sonic a strange intermediary sensory role. Deleuze and Guattari . . . Stepen Connor . . . Michel Chion.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (48) 20130921b 0 -10+ progress/2011/11/notes_for_goodman-sonic_warfare.html
On a completely different level are the three modes of listening Barthes offers: Goodman zone of transensorial, visceral perception positions synesthesia at the lowest, alarm level; consider it from the perspective of someone long steeped in reading Plato exposed to the synesthesia of symposia. (48) In any sonic experience therefore, it is primarily the vibrational (microrhythmic) nexus of sensory modalities that constitutes an encounter. . . . Where there is a visceral perception initiated by a sound and in a split-second the body is activated by the sonic trigger, then the gut reaction is preempting consciousness. Interwoven with the proprioception of the feeling of the moving relations of the body, a tactility facing toward, the affective sensorium as polyrhythmic nexus is a synesthetic synthesizer. For Massumi, synesthesia constitutes the perspective of the virtual. . . .
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (117) 20130921c 0 -4+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Critique of analog by Massumi. (117) In a provocative essay, The Superiority of the Analog, Brian Massumi attempts to strip away some of the hype of the digital, arguing that the analog is always on fold ahead. Massumi reminds us that there is actually no such thing as digital sound, whether generated on or off a computer; it it is audible, it must be analog. Digital code is audible only after it is transduced into sound waves. With theorists such as Pierre Levy, Massumi wants to cleave apart the erroneous equation of the digital with the virtual.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (119) 20130909 0 -12+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Goodman produces a tough description of VR, not considering leveraging capabilities of machinic intelligence articulated by Reddell. (119) For Evans, something is lost in this transition from the fullness of the analog to the exact partiality of the digital. . . . The digital has a resolution, and detail finer than this resolution is ignored by the digitals ordered thresholds. The analog, on the other hand, for Evans, as a variable continuum, is fuzzy, and responsive any operation performed on it transforms it. . . . it is rather a productive difference, a not-yet-determined, an ontological fuzziness inherent to actuality itself. Difference as productive cannot be digitalized. The processual nature of the actual, and its generation of singularity, must exceed its capture.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (120) 20130921d 0 -9+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Interesting functionalist equivocation of neural nets and embodiment; good definition of VR that also hints at Kittler, whom Goodman has cited many times in the first half of the book. (120) If the digital is to provide access to the virtual, then it would have to produce unforeseen results using feedback mechanisms to create resonance and interference between routines. A virtual digitality would have to integrate the analog into itself (bio-muscular robots and the like), by translating itself into the analog (neural nets and other evolutionary systems), or again by multiplying and intensifying its relays into and out of the analog (ubiquitous computing).
(120) The narrowband of humanoid audio perception is a fold on the discontinuum of vibration. On this field, the musical distinction between rhythm (infrasonic frequencies) and pitch (audible frequencies) dissolves, each merely constituting bands on the frequency spectrum. This vibrational discontinuum can be mapped as molecular texturhythm. . . . This is the plane of microsonic turbulence explored by contemporary digital sound design.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (120-121) 20130921e 0 -1+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Grains of sound like Derrida bites? (120-121) No longer should sonic matter be conceived purely in terms of waveforms, but now also in terms of grains of sound.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (121) 20130921f 0 -5+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Micro timescale sound recording = ME/ATemporality through very impressive explanation and argumentation; seems related to Derrida, Kittler, and other dominant signifiers in my galaxy of meaning. (121) Perhaps, contra the superiority of the analog thesis, the digital encoding of sound at the micro-timescale has opened untold sonic potentials in terms of textural invention, a surplus value over analog processing. . . . At a fundamental level, in its slicing of sonic matter into a multiplicity of freeze frames, digital samples treat analog continuity as bytes of numerically coded sonic time and intensity, grains that may or may not assume the consistency of tone fusion, the sonic equivalent of the persistence of vision.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (121-122) 20130921g 0 -5+ progress/2011/11/notes_for_goodman-sonic_warfare.html
This is a wild thought that takes a while to get: granular synthesis can demonstrate the lengthening of the event using text to speech data. (121-122) In granular synthesis, discreet digital particles of time are modulated and sonic matter synthesized at the quantum level. In analog processing, to lower the pitch of a sound event adds to the length of the event. . . .
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (122) 20130921h 0 -4+ progress/2011/11/notes_for_goodman-sonic_warfare.html
The book logically should change titles here if starting from the beginning; unsure what its rhetorical effect is supposed to be besides offering a study of its crossing into the always imagined future. (122) A too quick dismissal of the digital, articulated without an exploration of the numerical dimensions of the virtual at work in mathematical problematics and in popular numeracy, risks falling back into a phenomenological fetishization of the emergent plentitude of the analog. What is required is an affective calculus of quantum rhythm. Such a calculus would map the rhythmic oscillations that vibrate the microsonic, and the molecular turbulence these generate, a spiral that scales up through the nexus of the analog and digital (a sonic plexus) its codes and networks of affective contagion. Sonic warfare becomes a sensual mathematics.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (147) 20130921i 0 -1+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Earworm catchy tune that gets stuck in your head. (147) A commonly cited species within memetics, the earworm is the catchy tune that you cannot get out of your head, the vocal refrain, the infectious rhythm or the addictive riff.
5 3 1 (+) [-4+]mCQK goodman-sonic_warfare (204 n14) 20130921j 0 -1+ progress/2011/11/notes_for_goodman-sonic_warfare.html
Again a different approach to the virtual as not-yet-determined, a place of synestheisa prior to differentiation into discernable perception. (204 n14) Massumi understands affect as the intermodal, synesthetic perspective of the virtual.
5 3 1 (+) [-4+]mCQK hansen-bodies_in_code (123) 20121128 0 -1+ progress/2009/04/notes_for_hansen-bodies_in_code.html
Propose similar experiments in catalyzing shifts from predominantly visual to audible interfaces, connecting Grajeda sound studies and symposia project. (123) Osmose had her more recent Ephemere are designed expressly to catalyze a shift, as well as to compel self-reflexive recognition of the shirt, from a predominantly visual sensory interface to a predominantly bodily or affective interface.
5 3 1 (+) [-4+]mCQK havelock-muse_learns_to_write (59) 20130908 0 0+ progress/2012/05/notes_for_havelock-muse_learns_to_write.html
Can a text speak obviously a different question now that we have formant synthesis. (59)
5 3 1 (+) [-4+]mCQK hayles-electronic_literature (186) 20111205 0 -2+ progress/2010/02/notes_for_hayles-electronic_literature.html
Connect novel forms of subjectivity performance implicit in symposia project to digital humanities experimentation into auditory virtual realities philosophizing by programming to escape Hayles interpretation of fate of authorial voices by positing that programming also produces ones memorable texts, narratives, voices; important now to start adding sound and specifically text to speech formant synthesis to virtual reality generation for humans and computers (OGorman link). (186) The subjectivity performed and evoked by this text differs from traditional print novels in subverting, in a wide variety of ways, the authorial voice associated with an interiority arising from the relation between sound and mark, voice and presence. Overwhelmed by the cacophony of competing and cooperating voices, the authority of voice is deconstructed and the interiority it authorized is subverted into echoes testifying to the absences at the center.
5 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (2) 20130928 6 -9+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
For electronic literary projects like symposia it is all about different versions of the posthuman. (2)
(3) Materiality, as I defined it in Writing Machines, is an emergent property created through dynamic interactions between physical characteristics and signifying strategies. . . . This view of materiality goes hand in hand with what I call the Computational Universe, that is, the claim that the universe is generated through computational processes running on a vast computational mechanism underlying all of physical reality. . . . In this context, My mother was a computer can be understood as alluding to the displacement of Mother Nature by the Universal Computer.
5 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (4) 20130928a 0 -2+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Including sound studies. (4) Rather, I am interested in the complex dynamics through the the Computational Universe works simultaneously as means and metaphor in technical and artistic practices, producing and also produced by recursive loops that entangle with one another and with the diverse meanings of computation as technology, ontology, and cultural icon. This dynamic interplay of recursive, multiple causalities becomes, I argue, the fertile ground for re-envisioning and remaking a wide variety of cultural artifacts, including computer simulations and literary texts.
5 3 1 (+) [-4+]mCQK hayles-my_mother_was_a_computer (6) 20130928c 0 -10+ progress/2011/12/notes_for_hayles-my_mother_was_a_computer.html
Ocularcentric literary letter versus oral; old narrative like semaphoric telegraphy compared to simulation modeling in Sterne. (6) Narrative is much older than simulation modeling in artificial media almost as old, many anthropologists believe, as the human species itself. . . . Although they can be rendered in visual forms . . . these appearances are generated through algorithms that operate first and foremost with numerical quantities. Because computers are much better equipped than human minds to carry out the staggeringly tedious calculations involved in creating simulations, simulations are closely associated with artificial intelligence and with postbiological subjectivities.
(6-7) The traffic between language and code that this similarity/opposition sets up is one of the principal ways in which digital subjects and literary texts are interrogated and articulated together in this book.
5 3 1 (+) [-4+]mCQK heidegger-introduction_to_metaphysics (99) 20131022 0 -4+ progress/1996/05/notes_for_heidegger-introduction_to_metaphysics.html
Suppose this predominance of the line of sight (Vorblickbahn) can be related essentially to the book form of philosophical production, with its outlines and numbers (kephalaia) that made no sense to represent in the oral tradition, where other heuristics were employed. (99) The line of sight must be laid down in advance. We call it the "perspective," the track of fore-sight <Vorblickbahn>. Thus we shall see not only that being is not understood in an indeterminate way but that the determinate understanding of being moves in a predetermined perspective.
(99) We have become immersed (not to say lost) in this perspective, this line of sight which sustains and guides all our understanding of being.
5 3 1 (+) [-4+]mCQK kahn-noise_water_meat (2-3) 20130930 0 -6+ progress/2011/08/notes_for_kahn-noise_water_meat.html
Concentrates on generation of modernist and postmodernist aural techniques rather than the theories. (2-3) The book concentrates on the generation of modernist and postmodernist techniques and tropes among artistic practices and discourses. Some are soundful in themselves, others are contingent on ideas of sound, voice, and aurality. . . . The main ones discussed here are noise, auditive immersion in spatial and psychological domains, inscription and visual sound, the universalism of all sound and panaurality, musicalization of sound, phongraphic reproduction and imitation, Cagean silence, nondissipative sounds and voices, fluidity at the nexus of performance and objecthood, William Burroughss virus, and the bodily utterances of Michael McClures beast language and Antonin Artauds screaming.
5 3 1 (+) [-4+]mCQK keller_and_grontkowski-minds_eye (221) 20110831 0 -11+ progress/2011/08/notes_for_keller_and_grontkowski-minds_eye.html
Imagining theories of knowledge based on hearing or touch suggest different outcomes for the comportment to reality than the default visual; seems apparent that an alternate explanation based on affordances of communications technologies available to different senses, following Havelock and the texts and technology tradition, forces reconsideration of role of sounds. (221) How might a conception of knowledge based on another metaphor differ? Some implications are immediately evident. Knowledge likened to the sense of hearing, for example, could not have made the same claims to atemporality, and might well lend itself more readily to a process view of reality. It is interesting to note in this regard that Heraclitus, our earliest temporal ontologist, evidently had a different metaphor in mind. In fact the verbal form of know used by him, ksuniemi, originally meant to know by hearing. Similarly, a theory of knowledge which invokes the experience of touch as its base cannot aspire to either the incorporeality of the Platonic Forms, or the objectivity of the modern scientific venture; at the very least it would have necessitated a more mediate ontology. . . . But the crucial question which remains is whether it is possible to reconsider the criteria which lead to that conclusion. In a time when physics has once again altered our conception of vision and light, when we know that neither the apparent atemporality nor the dynamic neutrality of vision are features of reality, but only of our relatively coarse daily observations it seems appropriate to reassess our commitment to the ideals which these features imply.
5 3 1 (+) [-4+]mCQK kittler-gramophone_film_typewriter (2-3) 20111127 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
A striking statement that death is primarily a radio topic, today leading up to the quote I was really looking for to connect to Stern and Reddell, who both dismiss Kittler. (2-3) A composite of face and voice that remains calm, even when faced during a televised debate by an opponent named Richard M. Nixon, is deeped telegenic and may win a presidential election, as in Kennedys case. Voices that an optical close-up would reveal as treacherous, however, are called radiogenic and rule over the VE 301, the Volksempfanger of the Second World Ware. For, as the Heidegger disciple among Germanys early radio experts realized, death is primarily a radio topic.
5 3 1 (+) [-4+]mCQK kittler-gramophone_film_typewriter (2-3) 20131021 0 -4+ progress/2011/09/notes_for_kittler-gramophone_film_typewriter.html
I suggest the real problem is Lacans ocularcentrism limiting possible programmed sounds; that is why I am creating the example of symposia, to demonstrate something the collective would never budget a staff to produce: bazaar thinking versus cathedral production, which Kittler points out Nietzsche criticized as subhuman. (2-3) A composite of face and voice that remains calm, even when faced during a televised debate by an opponent named Richard M. Nixon, is deeped telegenic and may win a presidential election, as in Kennedys case. Voices that an optical close-up would reveal as treacherous, however, are called radiogenic and rule over the VE 301, the Volksempfanger of the Second World Ware. For, as the Heidegger disciple among Germanys early radio experts realized, death is primarily a radio topic.
5 3 1 (+) [-4+]mCQK mcgann-radiant_textuality (227) 20131008q 0 -2+ progress/2012/02/notes_for_mcgann-radiant_textuality.html
Producing Keats unheard melodies by leveraging digital capabilities begs for connection to symposia. (227) IVANHOEs object is to cultivate that gap to replicate and develop it and in the process, to expose to our thinking aspects of our own thought that would have otherwise remained only intuitively or randomly available to us. Keats called those things unheard melodies, and he revealed them, in that famous passage, to an ear to an intelligence we often hardly believe we possess.
5 3 1 (+) [-4+]mCQK mcluhan-understanding_media (258) 19940819 0 -2+ progress/1994/08/notes_for_mcluhan-understanding_media.html
The sort of analogue-creating or stage-setting that I have been looking for, to suggest the transition from printed text to VR presentations as standing firmly within a development of virtual realities that has been with us from the start. (258) The stream of consciousness is really managed by the transfer of film technique to the printed page, where, in a deep sense it really originated; for as we have seen, the Gutenberg technology of movable types is quite indispensable to any industrial or film process. As much as the infinitesimal calculus that pretends to deal with motion and change by minute fragmentation, the film does so by making motion and change into a series of static shots.
5 3 1 (+) [-4+]mCQK neel-plato_derrida_writing (17) 20131006e 0 -3+ progress/2009/02/notes_for_neel-plato_derrida_writing.html
Make the speech of wholly other machine processing via the symposia project which leverages espeak formant synthesis in a very crude, procedural usage ignoring the affordances of the not understood call back API. (17) Socrates voice lives in the death of Platos voice, which lives in the death of Socrates voice. Whichever voice one hears, the other man is speaking. Or at least so it seems.
5 3 1 (+) [-4+]mCQK norman-design_of_everyday_things (60) 20131006g 0 -1+ progress/2009/11/notes_for_norman-design_of_everyday_things.html
Point also made by Ong about power of constraints; more important is inconsideration (unthought) of audio virtual realities created by unnatural code. (60) Combining the two constraints of rhyme and meaning can therefore reduce the information about the particular word that must be kept in memory to nothing; as long as the constraints are known, the choice of word can be completely determined.
5 3 1 (+) [-4+]mCQK ogorman-ecrit (23-24) 20131006l 0 -11+ progress/2008/09/notes_for_ogorman-ecrit.html
But there are plenty of examples of this style of writing with Goethe, not just about, such as throughout Symposium where Plato takes on the identity of each speaker whose name is significant for the implicit psychic frameworks that must be assumed in order to appreciate the nuances of the text without grain of voice. (23-24) Kittler draws on a single scene as an inlet into a network of discourses that circulate through the text. . . . The text is not something to critique or comment on, but a generator of theories.
(24) Kittler, then, does not write about Faust or about Goethe; he writes with Goethe, just as he writes with Foucault, Lacan, and Derrida. This tendency of Kittler to write with several theorists at once is, according to David Wellberry, an innovation in scholarly method. . . . It is by means of this writing with that Kittler departs from the discourse of the Republic of Scholars.
5 3 1 (+) [-4+]mCQK ong-orality_and_literacy (3) 20120403 0 -4+ progress/2008/08/notes_for_ong-orality_and_literacy.html
Propose a tale appealing to auditory component of audio visual secondary orality of contemporary Internet browsers to go beyond alphabetic concerns: the symposia project can be used on many written texts including your own issue, notebooks, private work areas, the same places of Nietzsche Heidegger invades studying his notebooks to produce four volumes of writings. (3) Almost all the work thus far contrasting oral cultures and chirographic cultures has contrasted orality with alphabetic writing rather than with other writing systems . . . and has been concerned with the alphabet as used in the West.
5 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (212) 20131008a 0 -7+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Theory uninformed by the programming perspective represents consumer rather than producer metacognitive user stance, another way to explain the discovery by Tsang of different types of users so as to arrive at design recommendations. (212) The pharmakon.t project contextualizes webmixing as a meditative practice, approaching the collective record as a source for sonic mandalas, revealing otherwise occulted linkages among distinct, often apparently incompatible, data objects. I was interested in positioning my own webmixing work in the context of the DJ Rabbi collective because of the groups emphasis on appropriation, juxtaposition, and remixing as the essential literacies of digital culture. . . . In all cases, the works of the DJ Rabbi collective suggest that data objects in the store of human experience sustain a meaningful presence not as cultural objects bound by rigid rules for access, use, and interpretation, but only when they are renewed through acts of performative revision.
5 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (227-228) 20131008l 0 -5+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Is it a mistake to equate speech synthesis experiments with music, what if it is audible language? (227-228) Premiering in October 1999 during the Experimental Design Festival In Lisbon, Portugal, Tanakas work provides visitors with a custom webmixing interface installed on several computer kiosks distributed throughout the gallery. The screen depicts . . .
(228) With a planets size on the screen equating to its volume in the mix, the media interface allows the player to combine multiple audio streams by navigating through the celestial field.
5 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (228) 20131008m 0 -2+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Worth reflecting upon Constellations while thinking about navigation in symposia controlling the sonic experience for each participant. (228) Using an interface more like a video game than a musical instrument as well as taking more literally than Freeman and Skeet the emphasis on spatialization as a metaphor for sound mixing - Constellations is performed by an audience with little prior experience necessary to begin mixing sound sources. The navigational metaphor is immediately familiar, and the results of such telharmonic flights are almost instantly gratifying.
5 3 1 (+) [-4+]mCQK reddell-social_pulse_of_telharmonics (228-229) 20131008n 0 -3+ progress/2011/11/notes_for_reddell-social_pulse_of_telharmonics.html
Symposia as example of doing cultural chronotope of polycentric streams with scholarly texts where regulation of ambience becomes social responsibility, paying attention to navigation. (228-229) Constellations prompts reconsideration of the scale of sound database, the role of interface, and the nature of performance involved in the webmix. Using the computers formal interface to communicate with others through sonified data clusters, mutual webmixers fashion a kind of cultural chronotope, a shared situation or happening.
(229) In the shared gallery space of Tanakas work, ambience becomes the social responsibility of the participants.
5 3 1 (+) [-4+]mCQK saussure-general_course_in_linguistics (32) 20131009x 0 -5+ progress/2011/06/notes_for_saussure-general_course_in_linguistics.html
Audio texts and technology provides alternative to necessity of orthographic sign for physiological phonetics. (32) What is needed is to provide a natural substitute for the artificial aid. But that is impossible unless we have studied the sounds of the language. For without its orthographic sign a sound is something very vague.
(33) A language is a system based upon psychological contrasts between these auditory impressions, just as a tapestry is an work of art based upon the visual contrast between strands of different colors. What is important for an analysis is the effect of these contrasts, and not the processes by which the colors were obtained in the first place.
5 3 1 (+) [-3+]mCQK bork-journal 20090606 20090606 0 -15+ journal_2009.html
There is a certain equivocation between reality and thought that can be expressed as the equivalence of electrical circuits and computer software program code. As <operator> points out, human readable source code contains the allusions to human being that we care about, so its study affords human contemplation. Yet in terms of sheer efficacy, such code would have to work, in its executable, compiled or interpreted form, as machine code, not merely interest literary readers. This ups the ante for correctness in expression, storage, retrieval, and presentation, in addition to requiring humanities scholars who do write software and study programming languages. This afternoon the challenge is getting a bug worked out of the testbed system in which the first and fourth switch columns behave as if short circuited together. The effect is apparent even if only the cabinet or playfield wires are connected to the PMREK board. Troubleshooting this reverse engineered system is more difficult than the original despite additional diagnostic capabilities because there may be a design or assembly defect in the custom boards, or even a software bug. No obvious tests from Marvins Marvelous Mechanical Museum guides. By connecting a jumper to a strobe line, and touching each return line with a diode connected to the other end of the jumper, cathode facing the return line, each switch in the matrix can be tested. This should be done as part of the unit tests. It reveals that the problem with the first and fourth switch return column inputs (PPI 2, Port B, bits 0 and 3) is intrinsic to the PMREK reverse engineered assemblies. The culprit is therefore the PMREK board, the ISA I/O board, or the software. A strange finding is the multimeter measuring continuity with the buzzer shows two volts diode drop between the pin and ground for bit 0 (column 0) and also for bit 3 (column 3) for the cabinet switch circuit on the PMREK board but not for the playfield bit 0 or 4, or any others. The abnormal reading appears when pressure is applied to the upper right part of the board against the table. Finally it was discovered that a wire end protruding from the bottom side to the top side of the PMREK board was touching a capacitor lead for one of those switch circuits.
5 3 1 (+) [-1+]mCQK bork-exam3_question2 NULL 2_20131224 0 0+ progress/2013/12/notes_for_bork-exam3_question2.html
In one such possible galaxy of meaning where I answer as theorist-practitioner about one of my own projects aimed at advancing scholarship in the humanities, namely this dissertation.
5 3 1 (+) [-1+]mCQK bork-journal 20090402 20090402 0 -32+ journal_2009.html
A live demonstration that could be virtual reality such as what can be done with the language machine software integration project, two projectors, n+2 PCs, n+2 sets of speakers, a generic IEEE 802.3 10 Mbs Ethernet hub, an 802.11b Wireless Access Point (WAP), four unshielded twisted pair RJ-45 terminated copper wires, and electrical power. This is cyberspace. Imagine LAMP virtualization in a live filesystem. Add Perl to the previous bubbl.us concept map. Its software generates this hyperlink and invites you to share it with others.
http://bubbl.us/view.php?sid=278842&pw=yaxKUE440vYXYMTUwNU1tVGxiYk42SQ
They claim it is read only. Recall the statement from last year: For the music player, if I like a randomly chosen song (units of music) then continue the sequentially ordered (versus randomly chosen) playlist (lists of units of music). Next, if I dont respond to that one, just continue a bit before returning to random mode. Random mode may jump into the playlist from a year ago just as the journal entry. You can build this music player yourself, and this could never have been done in antiquity prior to binary electronic computing machinery. I was thinking about this language machine then, too. I also need to copy parts of the Zizek DVD to use in the lecture and live demonstration of the system. The GPL licensed Ogg/Theora encoded thoggen seems to be the obvious candidate for this task rather than writing the code from scratch. Of course the home computer does not have a DVD drive, so further research (study and learning) is thwarted. First, understand I have been thinking about this project for a long time, over a decade. What I have is fantasies, I have been unable to produce it yet. It begins with reading Platos Symposium, and understanding that the rhetorical function of dismissing the musicians early on in the work arises from realizations of the limitations of the ancient computing technologies in producing audible sound, let alone moving pictures - the text mostly speaks, and it is one speaker at a time - that the ancients were aware of the limitations of their computing technologies and philosophized about texts and technology. More importantly, it reveals our blind spots and opens to creative invention using TCP/IP inter networked sequential, fetch and execute, stored program electronic computing machinery (cyberspace) along with printed media. If that constraint is released the work becomes Symposia, simultaneous conversations with background music, potentially a cacophony and only partially intelligible to humans, modern and ancient. My goal is to produce a language machine that does this as acts of software engineering and system integration. It will use a variety of free, open source software (FOSS) running on generic computers (as defined above) within GNU/Linux operating systems. It illustrates what Manovich talks about as commutation[, and Rice [(..) (encode this blue provision text using TEI)], that it can be flipped out and replaced with another concept map diagram of the same physical network. Next, what is cyberspace, recalling the view from the FOSS paper.
5 3 1 (+) [-1+]mCQK bork-journal 20111126 20111126 0 -3+ journal_2011.html
Bullet list imported from course journal. Survey of possible platforms for the final presentation of symposia:
eAthena is Windows-based
VRSPACE
vrjuggler from Iowa State University
Simple Direct Media Layer (SDL) recommended by Ron Weidner
Ogre
Torque
Quake2
Crystal Space
Alph1
Bullet list imported from course journal with no sentence terminator. Years later note dislike of Windows-based option.
5 3 1 (+) [-1+]mCQK bork-journal 20111208 20111208 0 -15+ journal_2011.html
Setting up symposia in the front room meets conundrum of not having wireless network access. One option is to work from the console in the front room.
[working code css]
jbork@alkibiades:~/src/symposia$ iwlist wlan0 scan
wlan0 Scan completed :
Cell 01 - Address: 00:24:B2:CA:E2:12
Channel:6
Frequency:2.437 GHz (Channel 6)
Quality=70/70 Signal level=-35 dBm
Encryption key:on
ESSID:"SYMPOSIA"
Bit Rates:1 Mb/s; 2 Mb/s; 5.5 Mb/s; 11 Mb/s; 18 Mb/s
24 Mb/s; 36 Mb/s; 54 Mb/s
Bit Rates:6 Mb/s; 9 Mb/s; 12 Mb/s; 48 Mb/s
Mode:Master
Extra:tsf=000000627ce27183
Extra: Last beacon: 56250ms ago
IE: Unknown: 000853594D504F534941
IE: Unknown: 010882848B962430486C
IE: Unknown: 030106
IE: Unknown: 2A0100
IE: Unknown: 2F0100
IE: IEEE 802.11i/WPA2 Version 1
Group Cipher : TKIP
Pairwise Ciphers (2) : CCMP TKIP
Authentication Suites (1) : PSK
IE: Unknown: 32040C121860
IE: Unknown: DD090010180201F0000000
IE: WPA Version 1
Group Cipher : TKIP
Pairwise Ciphers (2) : CCMP TKIP
Authentication Suites (1) : PSK
IE: Unknown: DD180050F2020101800003A4000027A4000042435E0062322F00
jbork@alkibiades:~/src/symposia$
(ellipsis for $ sudo iwconfig eth1 essid "bestcoffee" and $ sudo dhclient eth1)
[working code css]
Yes it is a lot of work. Let us continue since we persevered this far. The next commands connect to the wireless network and request DHCP update. From the web, [(cannot use double quote and reduce internal double quote that must be that way to be syntactically correct shell usage)] That scan lists every available access point. The important piece of information to extract here is the ESSID. Now I set my wireless card up to connect to that ESSID: $ sudo iwconfig eth1 essid "bestcoffee" And finally, I tell my card to request an IP address from the router: PHI. In this case it is aptly named and humorous to my world in PHI-able galaxies of meaning. The project writeup is finally submitted after nearly 20 years. Setting up symposia in the front room meets conundrum of not having wireless network access. One option is to work from the console in the front room.
5 3 1 (+) [-1+]mCQK bork-journal 20120408 20120408 2 -10+ journal_2012.html
This is going to be the loop running locally downloading huge software updates of runnable code like codex of famous ancient Greek and Latin texts. What you hear are multiple English translations available in public domain cyberspace. Learn to treat cyberspace with the concern that it is, talk to it intelligently replaces natural language of Ong level circumspection definition passes through philosophy and into for humans to consume. My libraries contain source code for your machines to whom you entrust your thinking continuing producing information streams TCP/IPv4 HTTP yields HTML. To do justice to the idea requires brewing a pot (5-10 cups) of strong coffee. Tasks for the conference include configuring the final slide sequence and staging a demonstration of the software displaying the control console for two minutes or playing arrangements made with Audacity. The polyglot slide should be displayed while sounding the demonstration. The visual and reborn auditory are dispelled in alien temporality of machine experience in a way similar to the presentation in Bogost recent book. Using terms deployed by Barthes concerning myth, in this case Plato directing Socrates is incompatible with the historical and mythological Socrates presented in ancient texts. So after Derrida philosopheme is refresher of Barthes philosophy of myth, including his famous diagram and then the quote about the irregular ratio between the signified and the signifier.
5 3 1 (+) [0+]mCQK bork-journal 20120219 20120219 3 -15+ journal_2012.html
Add Derrida PDF to PHI demonstrated today and reading lists. Figure out the representation for double precision, 32 bit and higher floating point values. Guys like von Neuman and Turing could not have thought of such electronic memory designs as symposia expresses via MySQL and STL map, two teachable technologies and concepts built into the exercise. Assume perpetuity of code revisions as guarantee of future availability, like building the philosophical texts surrounding PHI as symposia, plurals, constellations of meaning, subjectivities, seats of machine embodied intelligences. Add the pinball machine to this language machine of the bookcase hyperlink map HTML/HTTP (IPv4) objects. Importance of whether to tarry with IPv4 or begin learning networking with IPv6 must include question of whether depending on skilled use of knowledge for future employment or mainly hobby purposes. Of course, for those nostalgic for the early eight bit, single processor, EPROM systems under 1K, which for those early pioneers represented the upper limit of the working area of the machines being built and used. Here it is minimal, incapable of comprehending or enunciating the symposia auditory phenomena. Working on the THATCamp version, trying to articulate the methodology of conducting humanities scholarship by developing software with an emphasis on programming examples. Feel this may be a response to Derrida. Perhaps we can better conceive the text from the position of media specific analysis of virtual realities by hearing it instead of just reading it. Consider what it would sound like in different configurations of the participants. In the long row Aristodemus would be the farthest from Phaedrus, whose speech is less faithfully recorded in the narrative Aristodemus recounts. Other configurations would produce different actual audible fields had the event been recorded with two microphones representing the position of his head in the virtual physical environment, like in immersive first person games.There is the added complexity of remembering this retelling thematically occurs while two walk for hours for an early critique of intellectual tools (Greek alphabetic writing).
select Chapter, Heading, SubHeading, InterstitialSequence, RelevanceLevel, TextName, PositionStart, TimestampBookmarkExtra, CitationOffset, CitationSentences, Path, Lexia from Notes where Chapter=5 and Heading=3 and (SubHeading=0 or SubHeading=1) and (InterstitialSequence=0 or InterstitialSequence=100) order by Heading, SubHeading, InterstitialSequence desc, RelevanceLevel desc, TextName, cast((trim(leading '(' from substring_index(PositionStart, '-', 1))) as unsigned)
Author | Title | Started | Rel | Latest | Read | Notes | MLA | hours |
barthes | image_music_text | 10 2011 | 8.50 | 20111208 | 5% | 5% | Y | 0 |
bracha_et_al | computerized_pin_ball_machine | 02 2013 | 8.50 | 20130211 | 50% | 5% | 2 | |
bull_and_back | auditory_culture_reader | 08 2011 | 8.50 | 20131026 | 50% | 25% | 0 | |
chion | voice_in_cinema | 10 2011 | 8.50 | 20130908 | 25% | 25% | 0 | |
derrida | aporias | 05 2013 | 8.50 | 20131028 | 75% | 50% | 0 | |
goodman | sonic_warfare | 11 2011 | 8.50 | 20130921 | 90% | 50% | Y | 0 |
kahn | noise_water_meat | 08 2011 | 8.50 | 20131103 | 50% | 25% | Y | 0 |
lanier | who_owns_the_future | 03 2014 | 8.50 | 20140430 | 90% | 25% | Y | 8 |