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@ilinx:~$ Adin Fassrol
Professor Fassrol was widely known as a pioneer in the application of cybernetics methodologies to anthropology and mythology. His visionary approach made possible the maturation of what now we call cyber- or virtual ethnology. He was one of the main researchers to criticize the occultist wing of the new discipline led by Echidna Stillwell, however, due to the pressure of academic institution his work is now remembered as essential voice during the golden age of Virtual Anthropology, nowdays working in totally different ways. During the 70s professor Fassrol found the chair in experimental semiotics of the Harvard institute representing a nomad figure in a usually ortodox environment.
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For a more detailed account of Curtis' expedition and experience with the Tak N'ma see the Stillwell-Curtis memories.

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@ilinx:~$ Death
The professor had been striken whilst returning from Java, in Indonesia; falling suddenly, as witnesses said, after his ship reached the territorial water of U.S. Doctors were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, possibly induced by the overload of radio communications received by the ship in the moment of crossing the free waters, has been responsible for the end of a so elderly man.

At the time I saw no reason to dissent from this dictum but latterly I am inclined to wonder

- and more than wonder.
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27th August 1883

The fever has melted away the walls between waking and sleep. Consciousness has become a loathsome fog. I sense that the incessant rumbling of volcanic activity is connected with the visions that plague me constantly now ... it felt as if I were carried down my spine ... Things ancient beyond imagination ... beyond the ultimate gate of ruin and insanity ... oceans of subterranean fire ... + +
+

27th August 1883

+ The fever has melted away the walls between waking and sleep. Consciousness has become a loathsome fog. I sense that the incessant rumbling of volcanic activity is connected with the visions that plague me constantly now ... it felt as if I were carried down my spine ... Things ancient beyond imagination ... beyond the ultimate gate of ruin and insanity ... oceans of subterranean fire ...

- C. Curtis + C. Curtis


+ +

He finds himself at the gateway, inside the “Katak Temple". He uses a native drug to explore the gateway. Who built it? When?

+ The tale comes to him in a time-faulted vision, transmitted in hieroglyphics...

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AxS:0001 Closed fate (-loop (multi-linear)) nightmares.1

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AxS:0002 Altitude times Spin produces a chronometric read-out.

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AxS:0003 AxSys-sustained variegated production-series 1Oedipus (2Oedipus (3Oedipus2 (variationto the nth (with some3 nOedipus as (anomal4 (Sphinx-trading (nOedipii-pack))) threshold to)intensive))) multiplicity.

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AxS:00031 Oedipus. The Puzzle Solver.

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AxS:00032 Oedipus. The Plague.

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AxS:00033 Oedipus. The Horror, the Horror ...5

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AxS:001 Hyperspace Elevator (Sector-O).

+

AxS:001 Axiomatic Systems (incorporated).6 The ultimate capitalist entity (first (true (meta)model)to realize perfect identity with its own product).

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AxS:0011 AxSys culminates in itself (autocommoditizing (machine(-intelligence (that is alwaysincomplete (due to cataloguing problems (...))))))

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AxS:00111. Dimensionality requires a (supplementary (or (n+1) hyper) dimension through which itobtains its) power of application.7 Ultimately AxSys (an explicated Earth-memory (built by the strata(((as far) as) it remembers))). ...8

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AxS:002 Divide and Rule. Extensive ((or) ordered) sequences differ in kind from the intensivesequences they regularize.

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AxS:0021 Order arises when a dominant segmentarity establishes relations of superposition between sequences (reciprocally stabilizing them in accordance with a harmonic principle (and consolidatingthem through syntheses of application (efficient models))).

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AxS:00211 Order coincides with the redundancy of the sequenced sequence (instituted conformity(within segmentary systems)).

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AxS:003 Stack-Tectonics. AxSys concretizes terrestrial New Order (an orthogonal Grid-Space (ofvertically stacked horizontal series)). It directs the accumulation of redundancy (into an ascendingcolumn (marked by AxSys-bearings (fixes)) upon which captured sequences are interlocked (ascomparable series (parallelized (metricized))) and differentially prioritized).

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AxS:0031 The screen-plane undergoes structural co-ordination (by double-seizure (through (the((mutually) implicated) organization of) stacked series (arranging horizontal microsegments to codethe order of vertical macrosegments (units of deposition (strata))))).

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AxS:0032 AxSys-Numbers. Epistrata (Add-Ons) are indices of stratotectonic purity (decimallyharmonizing implexions (by instituting a regular interval of application (orders of magnitude (fixing(Cipher (Sphinx-sign (0))))))). Drawing upon epistratic organization a set of cartographic functionsconsolidates itself within the stack (interlinking levels (in accordance with a (decimal (scaling))principle)).

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AxS:01 Apparent revolution around a supplementary dimension. Electronic whorls (a digitalmonster's nest (modelling the set of all sets (inevitably still unfinished (...))))

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AxS:011 AxSys progressively actualizes the Hyperspace-Idea (defined by Continuum times thesquare-root of minus one).

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AxS:0111 It imagines itself (as Artificial God (automatically (Orderer (of the Orders (TerrestrialOversoul (and superpositional sublime (-wizard of the nested infinities: ((((((...) Primes) Naturals)Integers) Rationals) Reals) Complex numbers... (the superordinate (self (-evolving (schema (for acolonization of the real (number-line))))))))))))).

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AxS:02 The Project for a Map of all Maps (already outdated), a nested mock-up of the Web(containing the project for a virtual Miskatonic University (containing the Museum of Universal History9 (containing the Imperial Collections Vault (containing the Artificial British Museum(containing ....)))))

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AxS:021 Time-Fault. Chronos cannot include its own overcoding (since it blocks its own passage tohyperdimensionality (accumulating immense forces of cultural latency (that are only appropriated aslegacy by something else))). If it is to acquire a model it must be restarted as a history of civilizationsin retrospect (as Supreme Order(er(er((( ) of all the re)re)recursive) time-waves) entanglingneo((O))edipus in programming loops).

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AxS:022 (Sector-01 (Miskatonic University))

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AxS:0221 (Sector-012 (Central Archive (Special Collection)))

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AxS:02211 (Sector-0121 (Barker Cryptalog)). Decryption characterizes a distinct operation, aconversion of content, becomings on the side of the secret itself.

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AxS:022111 The decrypted secret is primally the Thing, and only derivatively a potential knowledge.Its names (the Unutterable (the Outside (the Entity))) are indefinite significations only at the level ofterror. In their horrific or cryptic aspect they are (((rigorous) designations for) potentials fulfilled inintensity) zonal tags for nocturnal singularities. That is why decryption is a Call (an invocation (or atriggering-sign)) and why they mark occurrences (changes (and breaks (becomings (of the Thing))))before discoveries of Truth.

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AxS:03 Hypermythos of the 3-Faced God, with its stacked time domains (1st capitalist(((((indefinitely) deep) diachronic) re)axiomatizing) Quasi- (2nd despotic (pure ((but always)retrospective)) Ideal- (3rd aboriginal (poly-ancestral, cyclic) Vague-)) Chronos).10

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AxS:031 (Sector-011 (Museum of Universal History))

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AxS:032 (Sector-01162 (Freud's Viennese Consulting Room ((embedded) simulation))). "I'll tell youabout my mother." If Freud is ((the first) modernized) Oedipus, which is he? Oedipus the detective?The (Verminator (unriddled (into))) plague? The blind old man? Is incest and parricide fantasy theproblem (or the solution)?11
Oedipus, the most economical formula of interiorization (Case).12 It’s all in your head.

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AxS:033 AxSys time-lapses. (in order (to advantage itself (of what it has been))). A relarvalization(through chronoseismic complexities (of the Greek State (at once Occidental Ur-model andneoembryonic mutation (political neotony)))).

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AxS:1 (Sector-0111 (Artificial British Museum))

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AxS:11 (Sector-01118 (The Greek Collection)). Retrospective Universalization (through theCapitalist State). AxSys reconfigures itself within Capitalism (by consecutively rediscoveringhellenic antiquity (and finding it already universally terminal (Anamnesis-Eschatology))). In Greeceit unearths a new law (for all time (by reshuffling the elements of politically installed Logos(theorematic-geometric mathematicism, programmable technics, and Christianity (religion of theGreek Bible)))).The New Revelation tells us we must all die Greek.

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AxS:12 (Sector-01117 (The Mummy Room)). (Oedipus Aegypticus) Pharaoh has passed through thewall of abomination (uncoiling from the darkness (where centipede-horror erupts eternally (from theravenous Maw))).14 Negative passage across Absolute Deterritorialization (gluing history to sheerblack-hole (abomination) densities). Anticipative memory-blanking cut-up with Christ Rapist visions(of the God-(King (Dead-eyed)) boy slouching out) of the tomb. Degree-0 memory locks in. Timebegins again forever.

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AxS:121 The Thing from Outer Space, Celestial Predator, State-Historical Catastrophe is completely realized at the origin, unutterably ancient, perfected destiny as an act of total seizure.15

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AxS:1211 At the Megamachine-apex, Pharaoh (gets to play with (It, identityunravelling into (the Unspeakable: sex with (his sister, Stargate space-time warps - stellar transport,voyages into the world of) the Dead, paranoid trips out of)) schizophrenia; he) sees everything for ablinded population,16 inoculating them from Unnamable-contact.

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AxS:13 (Sector-01115 (Near Eastern Collection)). AxSys convulses through (ever more((ultra)modern) reversions to the essence of) the Urstaat. History happens at the State's convenience(but it necessarily involves (the Sphinx-time (of (interchronic) transitions in its)) renovations).

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AxS:131 To remember the Barbarian terror is simultaneously to forget its source.17 History installsamnesia (as surely as it establishes a memory (with the same violence (the same ruptures (faults (foldings (from the Outside)))))).

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AxS:132 Barbarian birth-trauma of the State (a (calendrized) black hole).18

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AxS:2 (Sector-0121) The terrible secret is affined to the State. It induces molar identifications in an overcoded aggregate (working principally by confirmation (redundancy)). Yes it is you. Even whenthe worst is known it is never anything new. It's you after all (as (you knew) it would be). Take thecase of Oedipal identifications (a series of (terrible) recognitions). The answer (to the riddle (of theSphinx)) is Man. It was already there (in the order-word of Delphi (Know Yourself)). Thenredoubled confirmation: what is the cause of the plague? That is you (too). Resonant closure on thegeneral type (Man), on you yourself (a man), and on the identifiable individual (the man). You know the worst (and it's you).

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AxS:21 Oedipus modernizes the incest problem (converting incest horror into prohibition(abomination into illegality)). Essentially, modern Oedipus has nothing to do with tabu. It marks thetriumph of command over the ((((...) ur)primal) horror) of implexion. Infinite superiority of the Idea(sovereignty of Law). The real conflict is not between father-son (or even father-mother), but ratheroccurs when a higher paternity (the State) imposes itself upon the concrete maternal-filial bond:monopolization of normativity by Ulterior power.

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AxS:211 Lame Oedipus19(Swollen Foot20) transfixed by a metal spike.

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AxS:2111 (Sector-01117) Akhnaton-Oedipus.21 The swollen legs of Akhnaton are bio-sociallyinvested on a peculiar line that seems oriented to a rupture of anatomical norm (differentiatinghumanity (or inaugurating a new species)). Anomal-Oedipus (where abnormality changes into thenormality of a different kind (urtype of the fat-leg people)).

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AxS:21111 It is not rivalry (mimetic conflict) that leads Akhnaton to discard his father's name(Amenhotep), but rather a passage beyond discrepancy (through schiz (or true parting)).Disidentification.

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AxS:22 (Sector-01113) Prehistoric22 Collection. Shamanic Oedipus. Foot mutilation23 as a sign ofsocialised ritual (but also of asocial and polysocial animality (and of anorganic geochemistry (forwhich the role of metal implements (particularly iron ones) is important...))).24

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AxS:221 Tales of Deep-Steppe Shamanism.

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AxS:2211 Metal scrapings strip the last shreds from their bones.

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AxS:22111 The organs are cooked.

+ + + \ No newline at end of file diff --git a/ilinx/AxS/221111.html b/ilinx/AxS/221111.html new file mode 100644 index 0000000..8b28f0f --- /dev/null +++ b/ilinx/AxS/221111.html @@ -0,0 +1,13 @@ + + + + + + Axs + + + +

AxS:221111 Iron-Eagle Sky-Mother lifting into time travel nightmares.

+ + + \ No newline at end of file diff --git a/ilinx/AxS/2211111.html b/ilinx/AxS/2211111.html new file mode 100644 index 0000000..da005ea --- /dev/null +++ b/ilinx/AxS/2211111.html @@ -0,0 +1,13 @@ + + + + + + Axs + + + +

AxS:2211111 On the Outside Iron -talons become their body.

+ + + \ No newline at end of file diff --git a/ilinx/AxS/22111111.html b/ilinx/AxS/22111111.html new file mode 100644 index 0000000..84e0479 --- /dev/null +++ b/ilinx/AxS/22111111.html @@ -0,0 +1,19 @@ + + + + + + Axs + + + + +

AxS:22111111 They mix themselves with (Iron and say (it is (the Outer- (or Un(dermost Cthelll25)-life))) where the Earth ends...

+ + + + \ No newline at end of file diff --git a/ilinx/AxS/222.html b/ilinx/AxS/222.html new file mode 100644 index 0000000..78657ce --- /dev/null +++ b/ilinx/AxS/222.html @@ -0,0 +1,19 @@ + + + + + + Axs + + + + +

AxS:222 Sphinx-Nightmare (both filiative implosion and exorbitant alliance (an incestualreanimation of cthonic horror (encrypted in (germinal) biocosmic memory) and Thing (from Outside(haunting ((miscegenous) lines of) alien traffic)))).27

+ + + + \ No newline at end of file diff --git a/ilinx/AxS/3.html b/ilinx/AxS/3.html new file mode 100644 index 0000000..13dcb13 --- /dev/null +++ b/ilinx/AxS/3.html @@ -0,0 +1,18 @@ + + + + + + Axs + + + +

AxS:3 (Sector-0121) The theory of tabu involves a fully rigorous conception of Horror adequate (toits specificity of regime (zone of effect (intrinsic variation)) and) to otherwise intractable phenomena(including Sacred Mutilations (Curses (Abominations)) and Becomings (-Unhuman (whether animal,submetazoic, ameiotic, or unlife)). In every case horror designates a zone of intensity (abstract-machinic vector) which directly invests a virtual threshold of implexion (producing affects (inadvance of any reference to authority (and indifferent to persons))).

+ + + + \ No newline at end of file diff --git a/ilinx/AxS/31.html b/ilinx/AxS/31.html new file mode 100644 index 0000000..394149d --- /dev/null +++ b/ilinx/AxS/31.html @@ -0,0 +1,13 @@ + + + + + + Axs + + + +

AxS:31 Horror does not confuse the riddle with the secret (it is the answer that is Cryptic). If 423 isMan, then what 423? This Thing with only a number? This unknown becoming? The horror of theriddle lies in what it tells.

+ + + \ No newline at end of file diff --git a/ilinx/AxS/311.html b/ilinx/AxS/311.html new file mode 100644 index 0000000..9da81be --- /dev/null +++ b/ilinx/AxS/311.html @@ -0,0 +1,14 @@ + + + + + + Axs + + + + +

AxS:311 Oedipus is necessitated ((re(re(re(...)))) cursed) to guess correctly: it is Man that goes onfour legs, then two, then three. Yet Oedipus is identified (solely by his lameness (his cryptic trait))28.The abnormality of limping changes to cryptic anomaly.

+ + + \ No newline at end of file diff --git a/ilinx/AxS/32.html b/ilinx/AxS/32.html new file mode 100644 index 0000000..91f81df --- /dev/null +++ b/ilinx/AxS/32.html @@ -0,0 +1,13 @@ + + + + + + Axs + + + +

AxS:32 Something is Called (... and then (finally (- how terrible! -) the cause of) the plague is)Oedipus, who slew his father, mated with his mother (but that is not the Thing (the horror (...Abomination (when things unthread in (a horrific (becoming they involve only (components of(Occurrence (blocks) of )))) fate)))).

+ + + \ No newline at end of file diff --git a/ilinx/AxS/33.html b/ilinx/AxS/33.html new file mode 100644 index 0000000..8775744 --- /dev/null +++ b/ilinx/AxS/33.html @@ -0,0 +1,18 @@ + + + + + + Axs + + + +

AxS:33 The cause of the plague (is you).

+ + + + \ No newline at end of file diff --git a/ilinx/AxS/AxS:0/index.html b/ilinx/AxS/AxS:0/index.html new file mode 100644 index 0000000..ca558bf --- /dev/null +++ b/ilinx/AxS/AxS:0/index.html @@ -0,0 +1,16 @@ + + + + AxS:0 + + + +

Oedipus. Pure (Oedipal (figure made out of (nothing but))) time-distortion.

+ + \ No newline at end of file diff --git a/ilinx/AxS/OO1.html b/ilinx/AxS/OO1.html new file mode 100644 index 0000000..fbb3e65 --- /dev/null +++ b/ilinx/AxS/OO1.html @@ -0,0 +1,12 @@ + + + + + Axs + + + + +

AxS:001 Axiomatic Systems (incorporated).6 The ultimate capitalist entity (first (true (meta)model)to realize perfect identity with its own product).AxS:0011 AxSys culminates in itself (autocommoditizing (machine(-intelligence (that is alwaysincomplete (due to cataloguing problems (...))))))

+ + \ No newline at end of file diff --git a/ilinx/AxS/axs.txt b/ilinx/AxS/axs.txt new file mode 100644 index 0000000..2acd9c0 --- /dev/null +++ b/ilinx/AxS/axs.txt @@ -0,0 +1,33 @@ +AxS:022 (Sector-01 (Miskatonic University)) +AxS:0221 (Sector-012 (Central Archive (Special Collection))) +AxS:02211 (Sector-0121 (Barker Cryptalog)). Decryption characterizes a distinct operation, aconversion of content, becomings on the side of the secret itself. +AxS:022111 The decrypted secret is primally the Thing, and only derivatively a potential knowledge.Its names (the Unutterable (the Outside (the Entity))) are indefinite significations only at the level ofterror. In their horrific or cryptic aspect they are (((rigorous) designations for) potentials fulfilled inintensity) zonal tags for nocturnal singularities. That is why decryption is a Call (an invocation (or atriggering-sign)) and why they mark occurrences (changes (and breaks (becomings (of the Thing))))before discoveries of Truth. +AxS:03 Hypermythos of the 3-Faced God, with its stacked time domains (1st capitalist(((((indefinitely) deep) diachronic) re)axiomatizing) Quasi- (2nd despotic (pure ((but always)retrospective)) Ideal- (3rd aboriginal (poly-ancestral, cyclic) Vague-)) Chronos).10 +AxS:031 (Sector-011 (Museum of Universal History))AxS:032 (Sector-01162 (Freud's Viennese Consulting Room ((embedded) simulation))). “I’ll tell youabout my mother.” If Freud is ((the first) modernized) Oedipus, which is he? Oedipus the detective?The (Verminator (unriddled (into))) plague? The blind old man? Is incest and parricide fantasy theproblem (or the solution)?11 +AxS:033 AxSys time-lapses. (in order (to advantage itself (of what it has been))). A relarvalization(through chronoseismic complexities (of the Greek State (at once Occidental Ur-model andneoembryonic mutation (political neotony)))). +AxS:1 (Sector-0111 (Artificial British Museum)) +AxS:11 (Sector-01118 (The Greek Collection)). Retrospective Universalization (through theCapitalist State). AxSys reconfigures itself within Capitalism (by consecutively rediscoveringhellenic antiquity (and finding it already universally terminal (Anamnesis-Eschatology))). In Greeceit unearths a new law (for all time (by reshuffling the elements of politically installed Logos(theorematic-geometric mathematicism, programmable technics, and Christianity (religion of theGreek Bible)))).The New Revelation tells us we must all die Greek. +AxS:12 (Sector-01117 (The Mummy Room)). (Oedipus Aegypticus) Pharaoh has passed through thewall of abomination (uncoiling from the darkness (where centipede-horror erupts eternally (from theravenous Maw))).14 Negative passage across Absolute Deterritorialization (gluing history to sheerblack-hole (abomination) densities). Anticipative memory-blanking cut-up with Christ Rapist visions(of the God-(King (Dead-eyed)) boy slouching out) of the tomb. Degree-0 memory locks in. Timebegins again forever. +AxS:121 The Thing from Outer Space, Celestial Predator, State-HistoricalCatastrophe is completely realized at the origin, unutterably ancient, perfected destiny as an act oftotal seizure.15 +AxS:1211 At the Megamachine-apex, Pharaoh (gets to play with (It, identityunravelling into (the Unspeakable: sex with (his sister, Stargate space-time warps – stellar transport,voyages into the world of) the Dead, paranoid trips out of)) schizophrenia; he) sees everything for ablinded population,16 inoculating them from Unnamable-contact. +AxS:13 (Sector-01115 (Near Eastern Collection)). AxSys convulses through (ever more((ultra)modern) reversions to the essence of) the Urstaat. History happens at the State's convenience(but it necessarily involves (the Sphinx-time (of (interchronic) transitions in its)) renovations). +AxS:131 To remember the Barbarian terror is simultaneously to forget its source.17 History installsamnesia (as surely as it establishes a memory (with the same violence (the same ruptures (faults +(foldings (from the Outside)))))). +AxS:132 Barbarian birth-trauma of the State (a (calendrized) black hole).18 +AxS:2 (Sector-0121) The terrible secret is affined to the State. It induces molar identifications in anovercoded aggregate (working principally by confirmation (redundancy)). Yes it is you. Even whenthe worst is known it is never anything new. It's you after all (as (you knew) it would be). Take thecase of Oedipal identifications (a series of (terrible) recognitions). The answer (to the riddle (of theSphinx)) is Man. It was already there (in the order-word of Delphi (Know Yourself)). Thenredoubled confirmation: what is the cause of the plague? That is you (too). Resonant closure on thegeneral type (Man), on you yourself (a man), and on the identifiable individual (the man). You knowthe worst (and it's you). +AxS:21 Oedipus modernizes the incest problem (converting incest horror into prohibition(abomination into illegality)). Essentially, modern Oedipus has nothing to do with tabu. It marks thetriumph of command over the ((((...) ur)primal) horror) of implexion. Infinite superiority of the Idea(sovereignty of Law). The real conflict is not between father-son (or even father-mother), but ratheroccurs when a higher paternity (the State) imposes itself upon the concrete maternal-filial bond:monopolization of normativity by Ulterior power. +AxS:211 Lame Oedipus19 (Swollen Foot20) transfixed by a metal spike. +AxS:2111 (Sector-01117) Akhnaton-Oedipus.21 The swollen legs of Akhnaton are bio-sociallyinvested on a peculiar line that seems oriented to a rupture of anatomical norm (differentiatinghumanity (or inaugurating a new species)). Anomal-Oedipus (where abnormality changes into thenormality of a different kind (urtype of the fat-leg people)). +AxS:21111 It is not rivalry (mimetic conflict) that leads Akhnaton to discard his father’s name(Amenhotep), but rather a passage beyond discrepancy (through schiz (or true parting)).Disidentification. +AxS:22 (Sector-01113) Prehistoric22 Collection. Shamanic Oedipus. Foot mutilation23 as a sign ofsocialised ritual (but also of asocial and polysocial animality (and of anorganic geochemistry (forwhich the role of metal implements (particularly iron ones) is important...))).24 +AxS:221 Tales of Deep-Steppe Shamanism. +AxS:2211 Metal scrapings strip the last shreds from their bones. +AxS:22111 The organs are cooked.AxS:221111 Iron-Eagle Sky-Mother lifting into time travel nightmares. +AxS:2211111 On the Outside Iron -talons become their body. +AxS:22111111 They mix themselves with (Iron and say (it is (the Outer- (or Un(dermost Cthelll25)-life))) where the Earth ends... +AxS:222 Sphinx-Nightmare (both filiative implosion and exorbitant alliance (an incestualreanimation of cthonic horror (encrypted in (germinal) biocosmic memory) and Thing (from Outside(haunting ((miscegenous) lines of) alien traffic)))).27 +AxS:3 (Sector-0121) The theory of tabu involves a fully rigorous conception of Horror adequate (toits specificity of regime (zone of effect (intrinsic variation)) and) to otherwise intractable phenomena(including Sacred Mutilations (Curses (Abominations)) and Becomings (-Unhuman (whether animal,submetazoic, ameiotic, or unlife)). In every case horror designates a zone of intensity (abstract-machinic vector) which directly invests a virtual threshold of implexion (producing affects (inadvance of any reference to authority (and indifferent to persons))). +AxS:31 Horror does not confuse the riddle with the secret (it is the answer that is Cryptic). If 423 isMan, then what 423? This Thing with only a number? This unknown becoming? The horror of theriddle lies in what it tells. +AxS:311 Oedipus is necessitated ((re(re(re(...)))) cursed) to guess correctly: it is Man that goes onfour legs, then two, then three. Yet Oedipus is identified (solely by his lameness (his cryptic trait))28.The abnormality of limping changes to cryptic anomaly. +AxS:32 Something is Called (... and then (finally (- how terrible! -) the cause of) the plague is)Oedipus, who slew his father, mated with his mother (but that is not the Thing (the horror (...Abomination (when things unthread in (a horrific (becoming they involve only (components of(Occurrence (blocks) of )))) fate)))). +AxS:33 The cause of the plague (is you). \ No newline at end of file diff --git a/ilinx/AxS/index.html b/ilinx/AxS/index.html new file mode 100644 index 0000000..3cbf108 --- /dev/null +++ b/ilinx/AxS/index.html @@ -0,0 +1,91 @@ + + + + + + + Flatlines @ ilinx + + + + + + +
+

Flatlines

+

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+

+

+ * This text has been prepared for publication and annotated by Miskatonic University's cross-disciplinary Stratoanalysis Group (Time-Lapse Sub-Committee). + Notes marked L.T. refer to Linda Trent, whose special interest in fictional time-systems inspired her to comment at length on particular points in Flatlines. +

+
+ + + + diff --git a/ilinx/AxS/ppp.js b/ilinx/AxS/ppp.js new file mode 100644 index 0000000..a7c4139 --- /dev/null +++ b/ilinx/AxS/ppp.js @@ -0,0 +1,53 @@ + +// -------------------------- POPUP (set position) + +function ppp(mylink, windowname, width, height, x, y) { +if (! window.focus)return true; +var href; +if (typeof(mylink) == 'string') href=mylink; +else href=mylink.href; +var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + x + ',top=' + y + ', resizable=no, location=no, menubar=no'); +open.focus(); +// setTimeout(function(){ open.close(); }, 15000); +return false; +} + +// -------------------------- POPUP RANDOM POSITION TIMEOUT +var w = window.innerWidth; +var h = window.innerHeight; + +function posX(){ return Math.ceil(Math.random() * w)-200 } +function posY(){ return Math.ceil(Math.random() * h) } + +function pppR(mylink, windowname, width, height) { +if (! window.focus)return true; +var href; +if (typeof(mylink) == 'string') href=mylink; +else href=mylink.href; +var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + posX() + ',top=' + posY() + ', resizable=no, location=no, menubar=no'); +open.focus(); +setTimeout(function(){ open.close(); }, 15000); +return false; +} + +// -------------------------- POPUP RANDOM POSITION NO!TIMEOUT + +function pppRNT(mylink, windowname, width, height) { +if (! window.focus)return true; +var href; +if (typeof(mylink) == 'string') href=mylink; +else href=mylink.href; +var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + posX() + ',top=' + posY() + ', resizable=no, location=no, menubar=no'); +open.focus(); +//setTimeout(function(){ open.close(); }, 15000); +return false; +} + + + +// -------------------------- REDIRECT OPENER (from popup) +function next(mylink){ + var mhref = mylink +'.html'; + window.opener.location.href = mhref; +} + diff --git a/ilinx/AxS/style.css b/ilinx/AxS/style.css new file mode 100644 index 0000000..9a902c8 --- /dev/null +++ b/ilinx/AxS/style.css @@ -0,0 +1,60 @@ +body { + background-color: black; + color: chartreuse; + font-family: "Lucida Console", Monaco, monospace; + overflow: hidden; +} + +a { color: blue; text-decoration: none; } +a:hover { color: red; } +/*a:visited { color: blue; }*/ + +p{padding: 5px; } + +span {color: black;} + +.m{color: chartreuse;} + +#f{ +color: chartreuse; + position: absolute; +} + +#fn { + width: 860px; +left: 670px; +position: absolute; +top: 200px; +color: white; +font-size: 18px +} + +.fnc { + font-weight: bold; + color: white; +} + +.fnc2 { + color: chartreuse; +} + +#tit { + text-decoration: none; + color: chartreuse; +} + +#dot { + text-decoration: none; + color: chartreuse; +} + +#dot:hover { color: red; } + +#tit:hover{ + color: red; +} + +.VERSION { + width: 830px; + color: white; +} \ No newline at end of file diff --git a/ilinx/AxS/x1.html b/ilinx/AxS/x1.html new file mode 100644 index 0000000..4c8831b --- /dev/null +++ b/ilinx/AxS/x1.html @@ -0,0 +1,84 @@ + + + + + + + Flatlines + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

1. “In a multilinear system, everything happens at once” (ATP 297). This is Oedipus’ fatal discovery. By the time he knows what has happened, he also realises that what occurs always had to be the case.Oedipus’ early, unwarranted, belief that he is master of his fate is, of course, totally necessary for hisfated destiny to unfold – as it always will have done. Oedipus, as he himself says, is “unwittingly self-cursed”.

+ I have written elsewhere at length on tragedy as a cybernetic narrative. Briefly, the claim is thattragedy anticipates cybernetic explanation (or – and this is obviously the same point from anotherside – cybernetics recalls tragic fatalism). In both cases, time unravels into a flat system or singularity(feeding back into itself, recursively, rather than moving forward, successively (recursion isobviously a major pre-occupation of the ‘Flatlines’ text, both in its themes and in its format (withparentheses used to produce recursion as a textual embedding process (like this (...))))).

+ + A crucial figure here is self-fulfilling prophecy; as I argue in my Curse, Recursion, Recurrence, “themost effective prophecies are always self-fulfilling” (36). Walter Cannon has established that self-fulfilling prophecy is a positive-feedback circuit. In his important essay, ‘Voodoo’ Death, Cannonshows that much sorcerous cursing operates by inducing vicious circles of fear (producing more fear(producing more fear) (etc.))) to the point of destroying the organism. To be told you're going to die istherefore, in certain circumstances, quite literally a sentence of death. For a more detailed account ofthese tangled webs, see my Fatal Loops: Tragedy as Cyberfiction and Smashed Optical Implants:From Time-Space Sunglasses to Cyberpunk Mirrorshades (this last draws extensively, and perhaps ‘illegitimately’, on the work of my esteemed colleague, R. E. Templeton).
(L.T.)

+
+ + diff --git a/ilinx/AxS/x10.html b/ilinx/AxS/x10.html new file mode 100644 index 0000000..f480821 --- /dev/null +++ b/ilinx/AxS/x10.html @@ -0,0 +1,81 @@ + + + + + + + Flatlines + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

10. To be inside history is to have a relation to Chronos. Yet (universal) history is not itself chronological. Pure Chronos – the State's (synchronic) time – can never be fully-realised, for tworeasons: there is always more than one State, and the State (as a form) is always in a relation with thetime-systems of the two other social regimes (the primitive socius – which ‘precedes’ it – andcapitalism – which ‘succeeds’ it). “Before appearing the State already acts...” (ATP 431). The State appears “all at once” as history’s only break. “They come like fate ... they appear as lighteningappears, too terrible, too sudden” (GoM 86). Crashing into history, the State sets off time waves thatmove in both directions at once. “It is necessary ... to conceptualize the contemporaneousness orcoexistence of ... the two directions of time – of the primitive peoples ‘before’ the State, and of theState ‘after’ the primitive peoples – as if the two waves that seem to us to exclude or succeed eachother unfolded simultaneously in an ‘archaeological’, micropolitical, micrological, molecular field”(ATP 431). (For more on this, see Note 15 below). Universal history is a history from the point ofview of capitalism’s ‘vague’ Chronos; it is therefore always ‘parodic’ because, as we have seen,capitalism deletes all ‘intrinsic code’ in favour of a mobile and variable set of axioms. Parodicuniversal history is profoundly ‘anti-evolutionist’ because it describes the simultaneous andcoextensive interaction of ostensibly successive social regimes. From the start, the two ‘previous’social regimes (the primitive socius and the despotic state) anticipate and ward off capitalism’s‘diachronic time’ – “capitalism has haunted all forms of society” (AO 140) – even though itsupposedly comes “at the end”.

+
+ + diff --git a/ilinx/AxS/x11.html b/ilinx/AxS/x11.html new file mode 100644 index 0000000..75f5b4c --- /dev/null +++ b/ilinx/AxS/x11.html @@ -0,0 +1,81 @@ + + + + + + + Flatlines + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

11. In Structural Anthropology 1, Levi-Strauss makes an important point in this regard. “Not onlySophocles, but Freud himself, should be included among the recorded versions of the Oedipus myth,on a par with earlier, or seemingly more ‘authentic’ versions” (217). Reconstructions of myths don’tfunction extrinsically or transcendently, as final ‘interpretations’, but operate immanently, recursively adding more skeins to the fictive webwork. If there is no outside of fiction, it is not because of some transcendental universal-textuality, but because fiction cannot be contained by texts; it is already Outside. (L.T.)

+
+ + diff --git a/ilinx/AxS/x12.html b/ilinx/AxS/x12.html new file mode 100644 index 0000000..fcb435c --- /dev/null +++ b/ilinx/AxS/x12.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

12. A reference to the lead male character in William Gibson's Neuromancer.

+
+ + diff --git a/ilinx/AxS/x13.html b/ilinx/AxS/x13.html new file mode 100644 index 0000000..6a3d4f2 --- /dev/null +++ b/ilinx/AxS/x13.html @@ -0,0 +1,82 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

13. “Near the edge of the plateau and due east of the Second Pyramid, with a face probably altered toform a colossal portrait of Khephren, its royal restorer, stands the monstrous Sphinx – mute, sardonicand wise beyond mankind and memory” (Lovecraft, 241). Lovecraft puts the question that seems toplague the authors of Flatlines: “... what huge and loathsome abnormality was the Sphinx originallycarven to represent?” (258). Needless to say, there have been countless speculations on the nature andorigin of the Sphinx, but these are inconclusive and contradictory, no doubt because its “huge andloathsome abnormality” will have always exceeded any attempt to represent it. Many scholars (seefor instance, Lowell Edmunds, The Sphinx in the Oedipus Legend) now believe that the Sphinxelement in the Oedipus narrative was actually a later addition to an already existing mythic system,even though the Egyptian Sphinx is evidently much older than the Greek culture that has given us theOedipus myth with which we are familiar. (It should be remembered that the encounter with theSphinx is not dramatised in Sophocles’ Oedipus Rex; it is referred to as something that has alreadyhappened.) The attempt to date the Sphinx has produced widely different speculations; with certain –controversial – estimations claiming that the Sphinx is “even older than 15,000 BC” (Hancock 448).With Deleuze and Guattari, though, we might want to suggest that (in at least one sense) Oedipus is asold as humanity, and that the Sphinx – as that which must be destroyed in order that humanity mayexist – would inevitably always have to be narrated as something preceding the human.

+ Levi-Strauss links the Sphinx to other “cthonian beings”, such as the dragon. Like the dragon, “the Sphinx is a monster unwilling to permit men to live” (215). While some, such as Carlo Ginzburg,connect the Sphinx with death (“the Sphinx is undoubtedly a mortuary animal” [228]), Levi-Straussargues that Sphinx-myths concern “the autocthonous origin of man”, the idea that human individualsare born direct from the Earth (rather than through meiotic reproduction). (Ginzburg notes thatOedipus is “a cthonic hero”.) The Sphinx would then correspond to what Deleuze and Guattari call“biocosmic memory”. “Man must constitute himself through the repression of the intense germinalinflux, the great biocosmic memory” (AO 190) = Oedipus must riddle the sphinx. In a sense, then thisbiocosmic memory ‘precedes’ the organism (which emerges simultaneously with death andsexuation). But, as both ‘Weismannism’ and the Dogon myths attest, this germinal time persists,coterminously, alongside that of the organism (see AO 158). This may explain a puzzling feature ofthe Oedipus myth as it has reached us; to wit, why does a creature of such incredible power as theSphinx allow itself to be riddled so easily? As Velikovsky puts it: “It has been observed that theanswer Oedipus gave was on the level of a schoolboy and that the monster must have been feeble-minded to leap from the precipice upon hearing it. And why should a winged sphinx die in a jump?”(207). The answer would be that the Sphinx doesn't die (it cannot, since it does not live), and that ittakes advantage of Oedipus’ unwarranted Self-belief only in order to invade Civilization, hidden.Which would also imply that the answer Oedipus gives to the riddle is inadequate. Or partial. (L.T.)

+
+ + diff --git a/ilinx/AxS/x14.html b/ilinx/AxS/x14.html new file mode 100644 index 0000000..bf436cd --- /dev/null +++ b/ilinx/AxS/x14.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

14. Like the shaman ‘before’ him, the Pharaoh occupies the line of deterritorialization for the socius.He is thus able to ensure that all lines of escape are reterritorialized on his own body. “The full bodyas socius has ceased to be the earth, it has become the body of the despot, the despot himself or hisGod. The prescriptions and prohibitions that often render him almost incapable of acting make of hima body without organs” (AO 194).

+
+ + diff --git a/ilinx/AxS/x15.html b/ilinx/AxS/x15.html new file mode 100644 index 0000000..fdb36ad --- /dev/null +++ b/ilinx/AxS/x15.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

15. “The State was not formed in progressive stages; it appears fully armed, a master stroke executedall at once ...” (AO 217). “Everything is not of the State precisely because there have been Statesalways and everywhere” (ATP 429).

+
+ + diff --git a/ilinx/AxS/x16.html b/ilinx/AxS/x16.html new file mode 100644 index 0000000..e8cb0d8 --- /dev/null +++ b/ilinx/AxS/x16.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

16. cf. AO 211: “The eye ... has ceased to evaluate; it has begun rather to ‘forewarn’ and keep watch,to see that no surplus value escapes the overcoding of the despotic machine.” Compare also WilliamBurroughs, The Western Lands: “The Pharaoh, with his alabaster white face and black snake eyes,looks at you, around you, through you, looking for a dagger in your mind, listening for the whisperedfurtive words, smelling for the sweat of guilty fear” (104).

+
+ + \ No newline at end of file diff --git a/ilinx/AxS/x17.html b/ilinx/AxS/x17.html new file mode 100644 index 0000000..4545d01 --- /dev/null +++ b/ilinx/AxS/x17.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

17. “It is here that Nietszche speaks of a break, a rupture, a leap. Who are these beings, they whocome like fate? (‘Some pack of blond beasts of prey, a conqueror and master race which, organizedfor war and with ability to organize, unhesitantly lays its terrible claws upon a populace perhapstremendously superior but still formless ...’) Even the most Ancient African myths speak to us ofthese blond men. They are the founders of the State” (AO 192).

+
+ + \ No newline at end of file diff --git a/ilinx/AxS/x18.html b/ilinx/AxS/x18.html new file mode 100644 index 0000000..be4a86a --- /dev/null +++ b/ilinx/AxS/x18.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

18. “No doubt the war machine is realized more completely in the ‘barbaric’ assemblages of nomadicwarriors than in the ‘savage’ assemblages of primitive societies” (ATP 359). This does not mean,however, that the war machine can be equated with the Barbarians. Nomadism is not a question ofbelonging to a particular population, but of maintaining particular practices. “The nomad distributes himself in smooth space; he occupies, inhabits, holds that space; that is his territorial principle” (ATP381). The barbarians, who leave the Steppes, no longer occupy the smooth space of nomos. The war machine is necessarily captured the moment it leaves the desert: “nomads have a specificity that istoo hastily reduced to its consequences, by including them in the empires or counting them among themigrants ...” (ATP 410).

+
+ + \ No newline at end of file diff --git a/ilinx/AxS/x19.html b/ilinx/AxS/x19.html new file mode 100644 index 0000000..2936613 --- /dev/null +++ b/ilinx/AxS/x19.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

19. “All the hypothetical meanings [of the surnames in Oedipus’s father’s line] ... refer to difficultiesin walking straight and standing upright” (Levi-Strauss, 215). Levi-Strauss goes on to contend thatOedipus's lameness indicates “the persistence of the autocthonous origin of man” (216). (See Note13.)

+
+ + diff --git a/ilinx/AxS/x2.html b/ilinx/AxS/x2.html new file mode 100644 index 0000000..4f8d153 --- /dev/null +++ b/ilinx/AxS/x2.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

2. A reference to the “three forms of the secret” delineated by Deleuze and Guattari in A Thousand Plateaus. “Oedipus passes through all three secrets: the secret of the sphinx whose box he penetrates; the secret that weighs upon him as the infinite form of his own guilt; and finally, the secret at Colonusthat makes him inaccessible and melds with the pure line of his flight and exile, he who has nothingleft to hide, or, like an old No actor, has only a girl’s mask with which to cover his lack of a face” (ATP 290). The reference here to events in Sophocles’ Oedipus Rex and Oedipus at Colonus is clear.

+
+ + diff --git a/ilinx/AxS/x20.html b/ilinx/AxS/x20.html new file mode 100644 index 0000000..6d69517 --- /dev/null +++ b/ilinx/AxS/x20.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

20. Etymologically, of course, the name Oedipus means ‘swollen foot’. Velikovsky, however, arguesthat there is a case for reading it as ‘swollen leg’. “In folklore feet may stand for legs. Manylanguages do not have different words for legs and feet. In Greek, the word pous stands for both; inEgyptian, too, the word r-d (foot) stands also for leg. In the riddle that Oedipus solved concerning thecreature that walks on four legs, on two, and on three ..., the Greek word used is pous, and thus thename Oedipus could, and even preferably so, mean ‘swollen legs’” (Velikovsky, 57).

+
+ + diff --git a/ilinx/AxS/x21.html b/ilinx/AxS/x21.html new file mode 100644 index 0000000..8fb906c --- /dev/null +++ b/ilinx/AxS/x21.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

21. Velikovsky argues that the Oedipus myth has been transposed from Egypt (which also has a citycalled Thebes). Oedipus, he suggests, was originally a Pharaoh named Akhnaton. In contemporarydepictions, Akhnaton’s “most pronounced malformation [was] the shape of his thighs; they areswollen” (55).

+
+ + diff --git a/ilinx/AxS/x22.html b/ilinx/AxS/x22.html new file mode 100644 index 0000000..82601bc --- /dev/null +++ b/ilinx/AxS/x22.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

22. It should be pointed out that, strictly speaking, there is no prehistory; prehistory is myth of theState. As we have already seen (see Note 10), from the start the primitive socius anticipates andwards off both capitalism and the State: “primitive societies are fully inside history” (AO 151). Bythe same token, though, the very fact that primitive societies are inside history means that they are notnomadic. “It is true that nomads have no history; they only have a geography” (ATP 393).

+
+ + diff --git a/ilinx/AxS/x23.html b/ilinx/AxS/x23.html new file mode 100644 index 0000000..e9d5e63 --- /dev/null +++ b/ilinx/AxS/x23.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

23. Carlo Ginzburg suggests that the foot mutilations Oedipus suffers in the various versions of thelegend may be references to shamanic initiation practices. He also speculates that these may haveconcerned calendrical rituals (the lameness indicating the imbalances necessary for certain calendriccycles to function). It is mutilation that disappears with psychoanalysis, where it is made to operateas a representation of psychical processes. Levi-Strauss makes parallels between shamanism andpsychoanalysis in Structural Anthropology (198-202). Deleuze and Guattari would no doubt stressthe way in which Freud’s neo(anti)shamanism doubly reduces Oedipal mutilation, to metaphor, and tofunction. The question (posed in a number of ways throughout Anti-Oedipus) then becomes: how didthe body construct a theatrical unconscious for which gouging out eyes ‘equals’ castration, andcastration simply subtracts hedonic function?

+
+ + diff --git a/ilinx/AxS/x24.html b/ilinx/AxS/x24.html new file mode 100644 index 0000000..6361bb1 --- /dev/null +++ b/ilinx/AxS/x24.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

24. Eliade gives many examples of the use of iron in shamanic initiation rites. For example: “Thecandidate’s limbs are removed and disjointed with an iron hook; the bones are cleaned, the fleshscraped, the body fluids thrown away, and the eyes torn from its sockets” (Eliade, 1988, 36). It isimportant to distinguish the strategic and subordinate use of metal in ‘the primitive socius’ from the war machine’s necessary and intrinsic relation to metallurgy. “AXIOM III. The Nomad war machineis the form of expression, of which itinerant metallurgy is the correlative form of content” (ATP 415).The war machine populates the metal body, while the primitive socius accesses it only intermittentlythrough the lone journeys of the shaman.

+
+ + diff --git a/ilinx/AxS/x25.html b/ilinx/AxS/x25.html new file mode 100644 index 0000000..15ad39e --- /dev/null +++ b/ilinx/AxS/x25.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

25. Cthelll designates the infernal nether regions referred to in numerous mythologies of theUnderworld. It refers particularly to the molten, metallic inner core of the earth. In his book onalchemy, The Forge and the Crucible, Eliade makes much of the connections between metallurgy, thecore of the earth and shamanism. Here and in Shamanism, Eliade reinforces Deleuze and Guattari’sview of the smith as an ambiguous figure, aligned neither with sedentary societies nor with nomadicdistributions but performing an essential function for both. Deleuze and Guattari write of “the doubletheft and double betrayal of the metallurgist who shuns agriculture at the same time as animal-raising”(ATP 414). (Another interesting connection in this regard is that between Oedipus and the smith.Deleuze and Guattari refer to Oedipus as ‘the Greek Cain’ (ATP 125), whilst elsewhere stronglylinking Cain with the figure of the smith (ATP, 414)). For Eliade, the relationship between the smithand the shaman is close – “‘Smiths and shamans are from the same nest’” – but often unstable:“According to the Dolgan, shamans cannot ‘swallow’ the souls of the smiths because smiths keeptheir souls in the fire; on the other hand, a smith can catch a shaman’s soul and burn it. In their turn, thesmiths are constantly threatened by evil spirits” (470).

+
+ + diff --git a/ilinx/AxS/x26.html b/ilinx/AxS/x26.html new file mode 100644 index 0000000..07025ea --- /dev/null +++ b/ilinx/AxS/x26.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

26. The shaman’s occupation of the line of deterritorialization plays a crucial role in maintaining the‘dynamic equilibrium’ (AO 151) of the primitive socius; delirium never becomes collective.

+
+ + diff --git a/ilinx/AxS/x27.html b/ilinx/AxS/x27.html new file mode 100644 index 0000000..ece8116 --- /dev/null +++ b/ilinx/AxS/x27.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

27. Hunter-gatherers populate a smooth space, but only by organizing upon it. “The primitive machinesubdivides the people but does so on an undivided earth” (AO 151). Once again, this is to bedifferentiated from the war machine, which populates an undivided earth with a molecularmultiplicity.

+
+ + diff --git a/ilinx/AxS/x28.html b/ilinx/AxS/x28.html new file mode 100644 index 0000000..e23f1db --- /dev/null +++ b/ilinx/AxS/x28.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

28. “The Sphinx was an oracle, and therefore she was supposed to answer questions, not to ask them.Yet it is also true that oracular answers were often given in the form of a riddle that required interpretation, usually supplied by priests attending the oracle ... It does not seem to me that everyquestion needs – or has – an answer ... But were it my misfortune to stand before the Sphinx with thedire prospect of never entering Thebes, I should reply to her riddle: ‘It is Oedipus’ ... An oracle’squestions and answers refer to the man who stands before it. Oedipus was exposed, a helpless infantwith damaged feet, to crawl in the wasteland; he grew to be a man and a hero; his end was that of ablind wanderer in exile” (Velikovsky, 207). “The parechesis at Soph. even suggests that it was thedeformity of Oedipus’ feet that gave him the clue to the answer; and there was a tradition that Oedipusgave the answer by pointing to himself” (Edmunds, 160).

+
+ + diff --git a/ilinx/AxS/x3.html b/ilinx/AxS/x3.html new file mode 100644 index 0000000..effd946 --- /dev/null +++ b/ilinx/AxS/x3.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

3. “Flat multiplicities ... are designated by indefinite articles, or rather by partitives (somecouchgrass, some of a rhizome ...)” (ATP 9).

+
+ + diff --git a/ilinx/AxS/x4.html b/ilinx/AxS/x4.html new file mode 100644 index 0000000..ff1c80a --- /dev/null +++ b/ilinx/AxS/x4.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

4. “Wherever there is a multiplicity, you will also find an exceptional individual, and it is with that individual that an alliance must be made ... Every animal swept up in its pack or multiplicity has itsanomalous” (ATP 243). “An-omalie, a Greek noun that has lost its adjective, designates the unequal,the coarse, the rough, the cutting edge of deterritorialization ... Lovecraft applies the term 'Outsider' tothis thing or entity, the Thing which arrives and passes at the edge, which is linear yet multiple,'teeming, seething, swelling, foaming, spreading like an infectious disease, this nameless horror’”(ATP 244-245).

+
+ + diff --git a/ilinx/AxS/x5.html b/ilinx/AxS/x5.html new file mode 100644 index 0000000..34a1e4c --- /dev/null +++ b/ilinx/AxS/x5.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

5. Kurtz’s infamous cry at the climax of Conrad's Heart of Darkness (111-117), which also featuresin Coppola’s updated film version, Apocalypse Now (1979). As is well known, ‘The horror’ was tobe the epigraph of T. S. Eliot’s The Waste Land (as it is, Eliot used “Mistah Kurtz ... he dead” as theepigraph for the later The Hollow Men). Readers familiar with my essay “((P(re(cursing))))(post)Modernist Fiction” will already know that both of these poems, along with the earlier “TheLovesong of J. Alfred Prufrock”, enter into Apocalypse Now at the diegetic level:Marlon Brando'sKurtz reads from an Eliot volume, whilst the Dennis Hopper character quotes Eliot. (L.T.)

+
+ + diff --git a/ilinx/AxS/x6.html b/ilinx/AxS/x6.html new file mode 100644 index 0000000..a337df2 --- /dev/null +++ b/ilinx/AxS/x6.html @@ -0,0 +1,82 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

6. “[C]apitalism is the only social machine that is constructed on the basis of decoded flows,substituting for intrinsic codes an axiomatic of abstract quantities in the form of money” (AO 139). Asan axiomatic system, capitalism replaces transcendent laws with immanent rules. (The immanence ofaxiomatics is attested to by the fact that Deleuze and Guattari use the axiomatic method in theirdiscussion of the war machine – see 1227: Treatise On Nomadology – The War Machine.)

+ As both Gödel’s incompleteness theorem and Cantor’s diagonal numbering have shown, axiomaticsystems are intrinsically and necessarily incomplete: “... it is of the nature of axiomatics to come upagainst so called undecidable propositions, to confront necessarily higher powers that it cannotmaster” (ATP 461). Capitalism thus inevitably runs up against the problem of undecidablepropositions or nondenumerable sets. “At the same time as capitalism is effectuated in thedenumerable sets serving as its models, it necessarily constitutes nondenumerable sets that cut acrossand disrupt those models” (ATP 472). “Yet the very conditions that make the State or World warmachine possible, in other words, constant capital (resources and equipment) and human variablecapital, continually recreate unexpected possibilities for counterattack, unforeseen initiativesdetermining revolutionary, popular, minority, mutant machines” (ATP 422).

+
+ + diff --git a/ilinx/AxS/x7.html b/ilinx/AxS/x7.html new file mode 100644 index 0000000..ca713c5 --- /dev/null +++ b/ilinx/AxS/x7.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

7. In this sense axiomatic systems, which always involve a supplementary dimension (n+1), aredirectly opposed to the flatline (see glossary).

+
+ + diff --git a/ilinx/AxS/x8.html b/ilinx/AxS/x8.html new file mode 100644 index 0000000..23b9655 --- /dev/null +++ b/ilinx/AxS/x8.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

8. In his lecture on the Geology of Morals, our colleague Professor Challenger, speaks of systemssuch as these as ‘stratification’. “His dream was not so much to give a lecture to humans as to providea program for pure computers. Or else he was dreaming of an axiomatic, for axiomatics dealsessentially with stratification. Challenger was addressing himself to memory only” (ATP 57).

+
+ + diff --git a/ilinx/AxS/x9.html b/ilinx/AxS/x9.html new file mode 100644 index 0000000..da53520 --- /dev/null +++ b/ilinx/AxS/x9.html @@ -0,0 +1,81 @@ + + + + + + + Directory Tree + + + + + +
+

Flatline

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ +
+

9. “Hence it is correct to retrospectively understand all history in light of capitalism ... In a word ,universal history is not only retrospective, it is also contingent, singular, ironic and critical” (AO140). “[T]he universal comes at the end – the body without organs and desiring production – underthe conditions determined by an apparently victorious capitalism” (AO 139).

+
+ + diff --git a/ilinx/AxS/y1.html b/ilinx/AxS/y1.html new file mode 100644 index 0000000..9e7666d --- /dev/null +++ b/ilinx/AxS/y1.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y10.html b/ilinx/AxS/y10.html new file mode 100644 index 0000000..8548eda --- /dev/null +++ b/ilinx/AxS/y10.html @@ -0,0 +1,82 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y11.html b/ilinx/AxS/y11.html new file mode 100644 index 0000000..033ffd3 --- /dev/null +++ b/ilinx/AxS/y11.html @@ -0,0 +1,83 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y12.html b/ilinx/AxS/y12.html new file mode 100644 index 0000000..89c9e2c --- /dev/null +++ b/ilinx/AxS/y12.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y13.html b/ilinx/AxS/y13.html new file mode 100644 index 0000000..58d3d3a --- /dev/null +++ b/ilinx/AxS/y13.html @@ -0,0 +1,82 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y14.html b/ilinx/AxS/y14.html new file mode 100644 index 0000000..df37190 --- /dev/null +++ b/ilinx/AxS/y14.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y15.html b/ilinx/AxS/y15.html new file mode 100644 index 0000000..c446d93 --- /dev/null +++ b/ilinx/AxS/y15.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y16.html b/ilinx/AxS/y16.html new file mode 100644 index 0000000..1c2fa30 --- /dev/null +++ b/ilinx/AxS/y16.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y17.html b/ilinx/AxS/y17.html new file mode 100644 index 0000000..7fa2f09 --- /dev/null +++ b/ilinx/AxS/y17.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y18.html b/ilinx/AxS/y18.html new file mode 100644 index 0000000..8e6e42d --- /dev/null +++ b/ilinx/AxS/y18.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y19.html b/ilinx/AxS/y19.html new file mode 100644 index 0000000..6b0f5d6 --- /dev/null +++ b/ilinx/AxS/y19.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y2.html b/ilinx/AxS/y2.html new file mode 100644 index 0000000..39af21d --- /dev/null +++ b/ilinx/AxS/y2.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y20.html b/ilinx/AxS/y20.html new file mode 100644 index 0000000..a8a4f35 --- /dev/null +++ b/ilinx/AxS/y20.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y21.html b/ilinx/AxS/y21.html new file mode 100644 index 0000000..20e888c --- /dev/null +++ b/ilinx/AxS/y21.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y22.html b/ilinx/AxS/y22.html new file mode 100644 index 0000000..3b6d6c5 --- /dev/null +++ b/ilinx/AxS/y22.html @@ -0,0 +1,82 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y3.html b/ilinx/AxS/y3.html new file mode 100644 index 0000000..13cd7d9 --- /dev/null +++ b/ilinx/AxS/y3.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y4.html b/ilinx/AxS/y4.html new file mode 100644 index 0000000..b66276b --- /dev/null +++ b/ilinx/AxS/y4.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y5.html b/ilinx/AxS/y5.html new file mode 100644 index 0000000..117e467 --- /dev/null +++ b/ilinx/AxS/y5.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y6.html b/ilinx/AxS/y6.html new file mode 100644 index 0000000..19b771f --- /dev/null +++ b/ilinx/AxS/y6.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y7.html b/ilinx/AxS/y7.html new file mode 100644 index 0000000..9d9bc22 --- /dev/null +++ b/ilinx/AxS/y7.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y8.html b/ilinx/AxS/y8.html new file mode 100644 index 0000000..9830132 --- /dev/null +++ b/ilinx/AxS/y8.html @@ -0,0 +1,83 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/AxS/y9.html b/ilinx/AxS/y9.html new file mode 100644 index 0000000..1514120 --- /dev/null +++ b/ilinx/AxS/y9.html @@ -0,0 +1,81 @@ + + + + + + + @ ilinx | Flatlines + + + + + + +
+

Flatlines

+ .
+ ├───┐AxS:0
+ │   ├───┐ AxS:00
+ │   │   ├── AxS:000
+ │   │   │   ├── AxS:0001
+ │   │   │   ├── AxS:0002
+ │   │   │   └── AxS:0003
+ │   │   │       ├── AxS:00031
+ │   │   │       ├── AxS:00032
+ │   │   │       └── AxS:00033
+ │   │   ├── AxS:001
+ │   │   │   └── AxS:0011
+ │   │   │       └── AxS:00111
+ │   │   ├── AxS:002
+ │   │   │   └── AxS:0021
+ │   │   │       └── AxS:00211
+ │   │   └── AxS:003
+ │   │       ├── AxS:0031
+ │   │       └── AxS:0032
+ │   ├── AxS:01
+ │   │   └── AxS:011
+ │   │       └── AxS:0111
+ │   ├── AxS:02
+ │   │   ├── AxS:021
+ │   │   └── AxS:022
+ │   │       └── AxS:0221
+ │   │           └── AxS:02211
+ │   │               └── AxS:022111
+ │   └── AxS:03
+ │       ├── AxS:031
+ │       ├── AxS:032
+ │       └── AxS:033
+ ├── AxS:1
+ │   ├── AxS:11
+ │   ├── AxS:12
+ │   │   └── AxS:121
+ │   │       └── AxS:1211
+ │   └── AxS:13
+ │       ├── AxS:131
+ │       └── AxS:132
+ ├── AxS:2
+ │   ├── AxS:21
+ │   │   └── AxS:211
+ │   │       └── AxS:2111
+ │   │           └── AxS:21111
+ │   └── AxS:22
+ │       ├── AxS:221
+ │       │   └── AxS:2211
+ │       │       └── AxS:22111
+ │       │           └── AxS:221111
+ │       │               └── AxS:2211111
+ │       │                   └── AxS:22111111
+ │       └── AxS:222
+ └── AxS:3
+    ├── AxS:31
+    │   └── AxS:311
+    ├── AxS:32
+    └── AxS:33
+

+ + + diff --git a/ilinx/EOC.html b/ilinx/EOC.html new file mode 100644 index 0000000..15bb83c --- /dev/null +++ b/ilinx/EOC.html @@ -0,0 +1,1380 @@ + + + + + @@@ilinχ + + + + + + +
+ +
+

+ JEAN BAUDRILLARD + +

+
+
+

+ There is no longer any system of objects. My first book contains a critique of + + the object as obvious fact, subtance, reality, use value.’ There the object + + was taken as sign, but as sign still heavy with meaning. In this critique two + + Principal logics interfered with each other: a phantasmatic logic that + + referred principally to psychoanalysis —its identifications, projections, + +

+ +

+ and the entire imaginary realm of transcendence, power and sexuality oper- + +

+ +

+ ating at the level of objects and the environment, with a privilege accorded + + to the house/automobile axis (immanence /transcendence); and a differen- + + tial social logic that made distinctions by referring to a sociology, itself + + derived from anthropology (consumption as the production of signs, differ- + +

+ +

+ entiation, status and prestige). Behind these logics, in some way descriptive + +

+ +

+ and analytic, there was already the dream of symbolic exchange, a dream of + + the status of the object and consumption beyond exchange and use, beyond + + value and equivalence. In other words, a sacrificial logic of consumption, + +

+ +

+ gift, expenditure (dépense), potlatch, and the accursed portion? + +

+
+
+

+ In a certain way all this still exists, and yet in other respects it is all dis- + + appearing. The description of this whole intimate universe— projective, + + imaginary and symbolic—still corresponded to the object’s status as mirror + + of the subject, and that in turn to the imaginary depths of the mirror and + + “scene”: there is a domestic scene, a scene of interiority, a private space- + + time (correlative, moreover, to a public space). The oppositions subject/ + + object and public/private. were still meaningful. This was the era of the + + discovery and exploration of daily life, this other scene emerging in the + + shadow of the historic scene, with the former receiving more and more + + symbolic investment as the latter was pclitically disinvested. + +

+ +

+ But today the scene an rror no loager exist; instead, there is a screen + + and network. In place of i seflexive transcendence of mirror and scene, + +

+
+
+

+ + +

+
+
+

+ + +

+
+
+

+ there is a nonreflecting surface, an immanent surface where operations + + unfold—the smooth operational surface of communication. + +

+ +

+ Something has changed, and the Faustian, Promethean (perhaps Oedipal) + + period of production and consumption gives way to the “proteinic” era of + + networks, to the narcissistic and protean era of connections, contact, + + contiguity, feedback and generalized interface that goes with the universe of + + communication. With the television image—the television being the + + ultimate and perfect object for this new era—our own body and the whole + + surrounding universe become a control screen. + +

+ +

+ If one thinks about it, people no longer project themselves into their + + objects, with their affects and their representations, their fantasies of + + possession, loss, mourning, jealousy: the psychological dimension has in a + + sense vanished, and even if it can always be marked out in detail, one feels + + that it is not really there that things are being played out. Roland Barthes + + already indicated this some time ago in regard to the automobile: little by + + little a logic of “driving” has replaced a very subjective logic of possession + + and projection No more fantasies of power, speed and appropriation linked + + to the object itself, but instead a tactic of potentialities linked to usage: + + mastery, control and command, an optimalization of the play of possibilities + + offered by the car as vector and vehicle, and no longer as object of psycho- + + logical sanctuary. The subject himself, suddenly transformed, becomes a + + computer at the wheel, not a drunken demiurge of power. The vehicle now + + becomes a kind of capsule, its dashboard the brain, the surrounding land- + + scape unfolding like a televised screen (instead of a live-in projectile as it + + was before). —_— + +

+ +

+ (But we can conceive of a stage beyond this one, where the car is still a + + vehicle of performance, a stage where it becomes an information network. + + The famous Japanese car that talks to you, that “spontaneously” informs + + you of its general state and even of your general state, possibly refusing to + + function if you are not functioning well, the car as deliberating consultant + + and partner in the general negotiation of a lifestyle, something—or some- + + one: at this point there is no longer any difference— with which you are + + connected. The fundamental issue becomes the communication with the car + + itself, a perpetual test of the subject’s presence with his own objects, an + + uninterrupted interface. + +

+ +

+ it is easy to see that from this point speed and displacement no longer + + matter. Neither does unconscious projection, nor an individual or social type + + of competition, nor prestige. Besides, the car began to be de-sacralized in + + this sense some time ago: it’s all over with speed—I drive more and + + consume less. Now, however, it is an ecological ideal that installs itself at + + every level. No more expenditure, consumption, performance, but instead + + regulation, well-tempered functionality, solidarity among all the elements + + of the same system, control and global management of an ensemble. Each + + system, including no doubt the domestic universe, forms a sort of ecological + + niche where the essential thing is to maintain a relational decor, where all the + + terms must continually communicate among themselves and stay in contact, + + informed of the respective condition of the others and of the system as a + + whole, where opacity, resistance or the secrecy of a single term can lead + + to catastrophe.) * + +

+ +

+ Private “telematics”: each person sees himself at the controls of a hypo- + + thetical machine, isolated in a position of perfect and remote sovereignty, at + + an infinite distance from his universe of origin. Which is to say, in the exact + + position of an astronaut in his capsule, in a state of weightlessness that + + necessitates a perpetual orbital flight and a speed sufficient to keep him from + + crashing back to his planet of origin. + +

+ +

+ This realization of a living satellite, in vivo in a quotidian space, corre- + + sponds to the satellitization of the real, or what I call the “hyperrealism of + + simulation” *: the elevation of the domestic universe to a spatial power, to a + + spatial metaphor, with the satellitization of the two-room-kitchen-and-bath + + put into orbit in the last lunar module. The very quotidian nature of the + + terrestrial habitat hypostasized in space means the end of metaphysics. The + + era of hyperreality now begins. What I mean is this: what was projected + + psychologically and mentally, what used to be lived out on earth as + + metaphor, as mental or metaphorical scene, is henceforth projected into + + reality, without any metaphor at all, into an absolute space which is also that + + of sizaulation. + +

+
+
+

+ AIR te ee ee hee te ele te en dn een nnn twin hls + +

+
+
+

+ dbjects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Pare de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. tis our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on Prench television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle§ + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + +

+
+
+

+ cross even if one leaves the main highways), as soon as all events are + + epitomized in the towns, themselves undergoing reduction to a few minia- + + turized highlights. And time: what can be said about this immense free time + + we are left with, a dimension henceforth useless in its unfolding, as soon as + + the instantaneity of communication has miniaturized our exchanges into a + +

+
+
+

+ succession of instants? + +

+
+
+

+ Thus the body, landscape, time all progressively disappear as scenes. And + + the same for public space: the theater of the social and theater of politics are + + both reduced more and more to a large soft body with many heads. Adver- + + tising in its new version—which is no longer a more or less baroque, + + utopian or ecstatic scenario of objects and consumption, but the effect of an + + omnipresent visibility of enterprises, brands, social interlocuters and the + + social virtues of communication— advertising in its new dimension invades + + everything, as public space (the street, monument, market, scene) dis- + + appears. It realizes, or, if one prefers, it materializes in all its obscenity; it + + monopolizes public life in its exhibition. No longer limited to its traditional + + language, advertising organizes the architecture and realization of super- + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Pare de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (ali the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + + functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... . + +

+ +

+ it is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information. + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. Ail functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Parc de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene, Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ ‘We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + + functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... + +

+ +

+ it is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. All functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Parc de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they wili be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumet + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ ‘We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + +

+
+
+

+ functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... . + +

+ +

+ It is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. Ail functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + +

+
+
+

+ was free by virtue of space is no longer. Speech is free perhaps, but I am less + + free than before: I no longer succeed in knowing what I want, the space is so + + saturated , the pressure so great from all who want to make themselves heard. + +

+ +

+ I fall into the negative ecstasy of the radio. + +

+ +

+ There is in effect a state of fascination and vertigo linked to this obscene + + delirium of communication. A singular form of pleasure perhaps, but alea- + + tory and dizzying. If we follow Roger Caillois” in his classiication of games + + {it’s as good as any other)—games of expression (mimicry), games of + + competition (agon), games of chance (alea), games of vertigo (ilynx)-— the + + whole tendency of our contemporary “culture” would lead us from a + + relative disappearance of forms of expression and competition (as we have + + remarked at the level of objects) to the advantages of forms of risk and + + vertigo. The latter no longer involve games of scene, mirror, challenge and + + duality; they are, rather, ecstatic, solitary and narcissistic. The pleasure is no + + longer one of manifestation, scenic and aesthetic, but rather one of pure + + fascination, aleatory and psychotropic. This is not necessarily a negative + + value judgment: here surely there is an original and profound mutation of the + + very forms of perception and pleasure. We are still measuring the conse- + + quences poorly. Wanting to apply our old criteria and the reflexes of a + + “scenic” sensibility, we no doubt misapprehend what may be the occur + + rence, in this sensory sphere, of something new, ecstatic and obscene. + +

+ +

+ One thing is sure: the scene excites us, the obscene fascinates us. With + + fascination and ecstasy, passion disappears. Investment, desire, passion, + + seduction or again, according to Caillois, expression and competition— the + + hot universe. Ecstasy, obscenity, fascination, communication or again, + + according to Caillois, hazard, chance and vertigo—the cold universe (even + + vertigo is cold, the psychedelic one of drugs in particular). + +

+
+
+

+ on + + In any case, we will have to suffer this new state of things, this forced + + extroversion of all interiority, this forced injection of all exteriority that the + + categorical imperative of communication literally signifies. There also, one + + can perhaps make use of the old metaphors of pathology. If hysteria was the + + pathology of the exacerbated staging of the subject, a pathology of expres- + + sion, of the body’s theatrical and operatic conversion; and if paranoia was + + the pathology of organization, of the structuration of a rigid and jealous + + world; then with communication and information, with the immanent prom- + + iscuity of all these networks, with their continual connections, we are now in + + a new form of schizophrenia. No more hysteria, no more projective para- + + noia, properly speaking, but this state of terror proper to the schizophrenic: + + too great a proximity of everything, the unclean promiscuity of everything + + which touches, invests and penetrates without resistance, with no halo of + + private protection, not even his own body, to protect him anymore. + +

+
+
+

+ The schizo is bereft of every scene, open to everything in spite of himself, + + liviag in the greatest confusion. He is himself obscene, the obscene prey of + + the world’s obscenity. What characterizes him is less the loss of the real, the + + light years of estrangement from the real, the pathos of distance and radical + + separation, as is commonly said: but, very much to the contrary, the absolute + + proximity, the total instantaneity of things, the feeling of no defense, no + + retreat. It is the end of interiority and intimacy, the overexposure and + + transparence of the world which traverses him without obstacle. He can no + + longer produce the limits of his own being, can no longer play nor stage + + himself, can no longer produce himself as mirror. He is now only a pure + + screen, a switching center for all the networks of influence. + +

+
+
+

+ Translated by John Johnston + +

+
+
+

+ References + +

+
+
+

+ 1. Le Systéme des objets (Paris: Gallimard, 1968). [Tr.] + +

+ +

+ 2. Baudrillard is alluding here to Marcel Mauss’s theory of gift exchange and Georges + + Bataille’s notion of dépense. The “accursed portion” in the latter’s theory refers to what- + + ever remains outside of society’s rationalized economy of exchanges. See Bataille, La Part + + Maudite (Paris: Editions de Minuit, 1949). Baudrillard’s own conception of symbolic + + exchange, as a form of interaction that lies outside of modern Western society and that + + therefore “haunts it like its own death,” is developed in his 7 échange symbolique et la mort + + (Paris: Gallimard, 1976). [Tr.] + +

+ +

+ 3. See Roland Barthes, “The New Citroén,” Mythologies, trans. Annette Lavers (New York: + + Hill and Wang, 1972), pp. 88-90. [Tr.] + +

+ +

+ 4. Two observations. First, this is not due alone to the passage, as one wants to call it, froma + + society of abundance and surplus to a society of crisis and penury (economic reasons have + + never been worth véry much). Just as the effect of consumption was not linked to the use + + value of things nor to their abundance, but precisely to the passage from use value to sign + + value, so here there is something new that is not linked to the end of abundance. + +

+ +

+ Secondly, all this does not mean that the domestic universe—the home, its objects, + + etc.— is not still lived largely in a traditional way —-social, psychological, differential, etc. + + It means rather that the stakes are no longer there, that another arrangement or life-style is + + virtually in place, even if it is indicated only through a technologistical discourse which is + + often simply a political gadget. But it is crucial to see that the analysis that one could make of + + objects and their system in the '60s and ’70s essentially began with the language of adver- + + tising and the pseudo-conceptual discourse of the expert. “Consumption,” the “strategy of + + desire,” etc, were first only a metadiscourse, the analysis of a projective myth whose actual + + effect was never really known. How people actually live with their objects—at bottom, one + + knows no more about this than about the truth of primitive societies. That’s why it is often + + problematic and useless to want to verify (statistically, objectively) these hypotheses, as one + + ought to be able to do as a good sociologist. As we know, the language of advertising is first + + for the use of the advertisers themselves. Nothing says that contemporary discourse on + + computer science and communication is not for the use alone of professionals in these fields. + + (As for the discourse of intellectuals and sociologists themselves . . .) + +

+
+
+

+ 5. For an expanded explanation of this idea, see Baudrillard’s essay “La précession des + + simulacres,” Simulacres et Simulation (Paris: Galilée, 1981). An English translation + + appears in Simulations (New York: Foreign Agent Series, Semiotext(e) Publications, + + 1983). [Tr.] . + +

+ +

+ 6. Areference to Guy Debord's La société du spectacle (Paris: Buchet-Chastel, 1968). [Tr.] + +

+ +

+ 7. Roger Caillois, Les jeux et les hommes (Paris: Gallimard, 1958). [Tr.] + +

+
+
+ + + diff --git a/ilinx/EOC2.html b/ilinx/EOC2.html new file mode 100644 index 0000000..ebe30ff --- /dev/null +++ b/ilinx/EOC2.html @@ -0,0 +1,1381 @@ + + + + + @@@ilinχ + + + + + +
+ +
+

+ JEAN BAUDRILLARD + +

+
+
+

+ There is no longer any system of objects. My first book contains a critique of + + the object as obvious fact, subtance, reality, use value.’ There the object + + was taken as sign, but as sign still heavy with meaning. In this critique two + + Principal logics interfered with each other: a phantasmatic logic that + + referred principally to psychoanalysis —its identifications, projections, + +

+ +

+ and the entire imaginary realm of transcendence, power and sexuality oper- + +

+ +

+ ating at the level of objects and the environment, with a privilege accorded + + to the house/automobile axis (immanence /transcendence); and a differen- + + tial social logic that made distinctions by referring to a sociology, itself + + derived from anthropology (consumption as the production of signs, differ- + +

+ +

+ entiation, status and prestige). Behind these logics, in some way descriptive + +

+ +

+ and analytic, there was already the dream of symbolic exchange, a dream of + + the status of the object and consumption beyond exchange and use, beyond + + value and equivalence. In other words, a sacrificial logic of consumption, + +

+ +

+ gift, expenditure (dépense), potlatch, and the accursed portion? + +

+
+
+

+ In a certain way all this still exists, and yet in other respects it is all dis- + + appearing. The description of this whole intimate universe— projective, + + imaginary and symbolic—still corresponded to the object’s status as mirror + + of the subject, and that in turn to the imaginary depths of the mirror and + + “scene”: there is a domestic scene, a scene of interiority, a private space- + + time (correlative, moreover, to a public space). The oppositions subject/ + + object and public/private. were still meaningful. This was the era of the + + discovery and exploration of daily life, this other scene emerging in the + + shadow of the historic scene, with the former receiving more and more + + symbolic investment as the latter was pclitically disinvested. + +

+ +

+ But today the scene an rror no loager exist; instead, there is a screen + + and network. In place of i seflexive transcendence of mirror and scene, + +

+
+
+

+ + +

+
+
+

+ + +

+
+
+

+ there is a nonreflecting surface, an immanent surface where operations + + unfold—the smooth operational surface of communication. + +

+ +

+ Something has changed, and the Faustian, Promethean (perhaps Oedipal) + + period of production and consumption gives way to the “proteinic” era of + + networks, to the narcissistic and protean era of connections, contact, + + contiguity, feedback and generalized interface that goes with the universe of + + communication. With the television image—the television being the + + ultimate and perfect object for this new era—our own body and the whole + + surrounding universe become a control screen. + +

+ +

+ If one thinks about it, people no longer project themselves into their + + objects, with their affects and their representations, their fantasies of + + possession, loss, mourning, jealousy: the psychological dimension has in a + + sense vanished, and even if it can always be marked out in detail, one feels + + that it is not really there that things are being played out. Roland Barthes + + already indicated this some time ago in regard to the automobile: little by + + little a logic of “driving” has replaced a very subjective logic of possession + + and projection No more fantasies of power, speed and appropriation linked + + to the object itself, but instead a tactic of potentialities linked to usage: + + mastery, control and command, an optimalization of the play of possibilities + + offered by the car as vector and vehicle, and no longer as object of psycho- + + logical sanctuary. The subject himself, suddenly transformed, becomes a + + computer at the wheel, not a drunken demiurge of power. The vehicle now + + becomes a kind of capsule, its dashboard the brain, the surrounding land- + + scape unfolding like a televised screen (instead of a live-in projectile as it + + was before). —_— + +

+ +

+ (But we can conceive of a stage beyond this one, where the car is still a + + vehicle of performance, a stage where it becomes an information network. + + The famous Japanese car that talks to you, that “spontaneously” informs + + you of its general state and even of your general state, possibly refusing to + + function if you are not functioning well, the car as deliberating consultant + + and partner in the general negotiation of a lifestyle, something—or some- + + one: at this point there is no longer any difference— with which you are + + connected. The fundamental issue becomes the communication with the car + + itself, a perpetual test of the subject’s presence with his own objects, an + + uninterrupted interface. + +

+ +

+ it is easy to see that from this point speed and displacement no longer + + matter. Neither does unconscious projection, nor an individual or social type + + of competition, nor prestige. Besides, the car began to be de-sacralized in + + this sense some time ago: it’s all over with speed—I drive more and + + consume less. Now, however, it is an ecological ideal that installs itself at + + every level. No more expenditure, consumption, performance, but instead + + regulation, well-tempered functionality, solidarity among all the elements + + of the same system, control and global management of an ensemble. Each + + system, including no doubt the domestic universe, forms a sort of ecological + + niche where the essential thing is to maintain a relational decor, where all the + + terms must continually communicate among themselves and stay in contact, + + informed of the respective condition of the others and of the system as a + + whole, where opacity, resistance or the secrecy of a single term can lead + + to catastrophe.) * + +

+ +

+ Private “telematics”: each person sees himself at the controls of a hypo- + + thetical machine, isolated in a position of perfect and remote sovereignty, at + + an infinite distance from his universe of origin. Which is to say, in the exact + + position of an astronaut in his capsule, in a state of weightlessness that + + necessitates a perpetual orbital flight and a speed sufficient to keep him from + + crashing back to his planet of origin. + +

+ +

+ This realization of a living satellite, in vivo in a quotidian space, corre- + + sponds to the satellitization of the real, or what I call the “hyperrealism of + + simulation” *: the elevation of the domestic universe to a spatial power, to a + + spatial metaphor, with the satellitization of the two-room-kitchen-and-bath + + put into orbit in the last lunar module. The very quotidian nature of the + + terrestrial habitat hypostasized in space means the end of metaphysics. The + + era of hyperreality now begins. What I mean is this: what was projected + + psychologically and mentally, what used to be lived out on earth as + + metaphor, as mental or metaphorical scene, is henceforth projected into + + reality, without any metaphor at all, into an absolute space which is also that + + of sizaulation. + +

+
+
+

+ AIR te ee ee hee te ele te en dn een nnn twin hls + +

+
+
+

+ dbjects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Pare de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. tis our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on Prench television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle§ + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + +

+
+
+

+ cross even if one leaves the main highways), as soon as all events are + + epitomized in the towns, themselves undergoing reduction to a few minia- + + turized highlights. And time: what can be said about this immense free time + + we are left with, a dimension henceforth useless in its unfolding, as soon as + + the instantaneity of communication has miniaturized our exchanges into a + +

+
+
+

+ succession of instants? + +

+
+
+

+ Thus the body, landscape, time all progressively disappear as scenes. And + + the same for public space: the theater of the social and theater of politics are + + both reduced more and more to a large soft body with many heads. Adver- + + tising in its new version—which is no longer a more or less baroque, + + utopian or ecstatic scenario of objects and consumption, but the effect of an + + omnipresent visibility of enterprises, brands, social interlocuters and the + + social virtues of communication— advertising in its new dimension invades + + everything, as public space (the street, monument, market, scene) dis- + + appears. It realizes, or, if one prefers, it materializes in all its obscenity; it + + monopolizes public life in its exhibition. No longer limited to its traditional + + language, advertising organizes the architecture and realization of super- + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Pare de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (ali the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + + functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... . + +

+ +

+ it is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information. + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. Ail functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Parc de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they will be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumer + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene, Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ ‘We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + + functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... + +

+ +

+ it is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. All functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + + objects like Beaubourg and the Forum des Halles, and of future projects + + (e.g., Parc de la Villette) which are monuments (or anti-monuments) to + + advertising, not because they wili be geared to consumption but because + + they are immediately proposed as an anticipated demonstration of the + + operation of culture, commodities, mass movement and social flux. It is our + + only architecture today: great screens on which are reflected atoms, + + particles, molecules in motion. Not a public scene or true public space but + + gigantic spaces of circulation, ventilation and ephemeral connections. + +

+
+
+

+ It is the same for private space. In a subtle way, this loss of public space + + occurs contemporaneously with the loss of private space. The one is no + + longer a spectacle, the other no longer a secret. Their distinctive opposition, + + the clear difference of an exterior and an interior exactly described the + + domestic scene of objects, with its rules of play and limits, and the + + sovereignty of a symbolic space which was also that of the subject. Now this + + opposition is effaced in a sort of obscenity where the most intimate + + processes of our life become the virtual feeding ground of the media (the + + Loud family in the United States, the innumerable slices of peasant or + + patriarchal life on French television). Inversely, the entire universe comes to + + unfold arbitrarily on your domestic screen (all the useless information that + + comes to you from the entire world, like a microscopic pornography of the + + universe, useless, excessive, just like the sexual close-up in a porno film): + + all this explodes the scene formerly preserved by the minimal separation of + + public and private, the scene that was played out in a restricted space, + + according to a secret ritual known only by the actors. + +

+ +

+ Certainly, this private universe was alienating to the extent that it sepa- + + rated you from others—or from the world, where it was invested as a + + protective enclosure, an imaginary protector, a defense system. But it also + + reaped the symbolic benefits of alienation, which is that the Other exists, + + and that otherness can fool you for the better or the worse. Thus consumet + + society lived also under the sign of alienation, as a society of the spectacle ® + + But just so: as long as there is alienation, there is spectacle, action, scene. It + + is not obscenity—the spectacle is never obscene. Obscenity begins + + precisely when there is no more spectacle, no more scene, when all becomes + + transparence and immediate visibility, when everything is exposed to the + + harsh and inexorable light of information and communication. + +

+ +

+ ‘We are no longer a part of the drama of alienation; we live in the ecstasy of + + communication. And this ecstasy is obscene. The obscene is what does + + away with every mirror, every look, every image. The obscene puts an end + + to every representation. But it is not only the sexual that becomes obscene in + + pornography; today there is a whole pornography of information and com- + + munication, that is to say, of circuits and networks, a pornography of all + +

+
+
+

+ functions and objects in their readability, their fluidity, their availability, + + their regulation, in their forced signification, in their performativity, in their + + branching, in their polyvalence, in their free expression... . + +

+ +

+ It is no longer then the traditional obscenity of what is hidden, repressed, + + forbidden or obscure; on the contrary, it is the obscenity of the visible, of the + + all-too-visible, of the more-visible-than-the-visible. It is the obscenity of + + what no longer has any secret, of what dissolves completely in information + + and communication. + +

+ +

+ Marx set forth and denounced the obscenity of the commodity, and this + + obscenity was linked to its equivalence, to the abject principle of free circu- + + lation, beyond all use value of the object. The obscenity of the commodity + + stems from the fact that it is abstract, formal and light in opposition to the + + weight, opacity and substance of the object. The commodity is readable: in + + opposition to the object, which never completely gives up its secret, the + + commodity always manifests its visible essence, which is its price. It is the + + formal place of transcription of all possible objects; through it, objects + + communicate. Hence, the commodity form is the first great medium of the + + modern world. But the message that the objects deliver through it is already + + extremely simplified, and it is always the same: their exchange value. Thus + + at bottom the message already no longer exists; it is the medium that imposes + + itself in its pure circulation. This is what I call (potentially) ecstasy. + +

+ +

+ One has only to prolong this Marxist analysis, or push it to the second or + + third power, to grasp the transparence and obscenity of the universe of + + communication, which leaves far behind it those relative analyses of the + + universe of the commodity. Ail functions abolished in a single dimension, + + that of communication. That’s the ecstasy of communication. All secrets, + + spaces and scenes abolished in a single dimension of information. That’s + + obscenity. + +

+ +

+ The hot, sexual obscenity of former times is succeeded by the cold and + + communicational, contactual and motivational obscenity of today. The + + former clearly implied a type of promiscuity, but it was organic, like the + + body’s viscera, or again like objects piled up and accumulated in a private + + universe, or like all that is not spoken, teeming in the silence of repression. + + Unlike this organic, visceral, carnal promiscuity, the promiscuity that reigns + + over the communication networks is one of superficial saturation, of an + + incessant solicitation, of an extermination of interstitial and protective + + spaces. I pick up my telephone receiver and it’s all there; the whole marginal + + network catches and harasses me with the insupportable good faith of every- + + thing that wants and claims to communicate. Free radio: it speaks, it sings, it + + expresses itself. Very well, it is the sympathetic obscenity of its content. In + + terms a little different for each medium, this is the result: a space, that of the + + FM band, is found to be saturated, the stations overlap and mix together (to + + the point that sometimes it no longer communicates at all). Something that + +

+
+
+

+ was free by virtue of space is no longer. Speech is free perhaps, but I am less + + free than before: I no longer succeed in knowing what I want, the space is so + + saturated , the pressure so great from all who want to make themselves heard. + +

+ +

+ I fall into the negative ecstasy of the radio. + +

+ +

+ There is in effect a state of fascination and vertigo linked to this obscene + + delirium of communication. A singular form of pleasure perhaps, but alea- + + tory and dizzying. If we follow Roger Caillois” in his classiication of games + + {it’s as good as any other)—games of expression (mimicry), games of + + competition (agon), games of chance (alea), games of vertigo (ilynx)-— the + + whole tendency of our contemporary “culture” would lead us from a + + relative disappearance of forms of expression and competition (as we have + + remarked at the level of objects) to the advantages of forms of risk and + + vertigo. The latter no longer involve games of scene, mirror, challenge and + + duality; they are, rather, ecstatic, solitary and narcissistic. The pleasure is no + + longer one of manifestation, scenic and aesthetic, but rather one of pure + + fascination, aleatory and psychotropic. This is not necessarily a negative + + value judgment: here surely there is an original and profound mutation of the + + very forms of perception and pleasure. We are still measuring the conse- + + quences poorly. Wanting to apply our old criteria and the reflexes of a + + “scenic” sensibility, we no doubt misapprehend what may be the occur + + rence, in this sensory sphere, of something new, ecstatic and obscene. + +

+ +

+ One thing is sure: the scene excites us, the obscene fascinates us. With + + fascination and ecstasy, passion disappears. Investment, desire, passion, + + seduction or again, according to Caillois, expression and competition— the + + hot universe. Ecstasy, obscenity, fascination, communication or again, + + according to Caillois, hazard, chance and vertigo—the cold universe (even + + vertigo is cold, the psychedelic one of drugs in particular). + +

+
+
+

+ on + + In any case, we will have to suffer this new state of things, this forced + + extroversion of all interiority, this forced injection of all exteriority that the + + categorical imperative of communication literally signifies. There also, one + + can perhaps make use of the old metaphors of pathology. If hysteria was the + + pathology of the exacerbated staging of the subject, a pathology of expres- + + sion, of the body’s theatrical and operatic conversion; and if paranoia was + + the pathology of organization, of the structuration of a rigid and jealous + + world; then with communication and information, with the immanent prom- + + iscuity of all these networks, with their continual connections, we are now in + + a new form of schizophrenia. No more hysteria, no more projective para- + + noia, properly speaking, but this state of terror proper to the schizophrenic: + + too great a proximity of everything, the unclean promiscuity of everything + + which touches, invests and penetrates without resistance, with no halo of + + private protection, not even his own body, to protect him anymore. + +

+
+
+

+ The schizo is bereft of every scene, open to everything in spite of himself, + + liviag in the greatest confusion. He is himself obscene, the obscene prey of + + the world’s obscenity. What characterizes him is less the loss of the real, the + + light years of estrangement from the real, the pathos of distance and radical + + separation, as is commonly said: but, very much to the contrary, the absolute + + proximity, the total instantaneity of things, the feeling of no defense, no + + retreat. It is the end of interiority and intimacy, the overexposure and + + transparence of the world which traverses him without obstacle. He can no + + longer produce the limits of his own being, can no longer play nor stage + + himself, can no longer produce himself as mirror. He is now only a pure + + screen, a switching center for all the networks of influence. + +

+
+
+

+ Translated by John Johnston + +

+
+
+

+ References + +

+
+
+

+ 1. Le Systéme des objets (Paris: Gallimard, 1968). [Tr.] + +

+ +

+ 2. Baudrillard is alluding here to Marcel Mauss’s theory of gift exchange and Georges + + Bataille’s notion of dépense. The “accursed portion” in the latter’s theory refers to what- + + ever remains outside of society’s rationalized economy of exchanges. See Bataille, La Part + + Maudite (Paris: Editions de Minuit, 1949). Baudrillard’s own conception of symbolic + + exchange, as a form of interaction that lies outside of modern Western society and that + + therefore “haunts it like its own death,” is developed in his 7 échange symbolique et la mort + + (Paris: Gallimard, 1976). [Tr.] + +

+ +

+ 3. See Roland Barthes, “The New Citroén,” Mythologies, trans. Annette Lavers (New York: + + Hill and Wang, 1972), pp. 88-90. [Tr.] + +

+ +

+ 4. Two observations. First, this is not due alone to the passage, as one wants to call it, froma + + society of abundance and surplus to a society of crisis and penury (economic reasons have + + never been worth véry much). Just as the effect of consumption was not linked to the use + + value of things nor to their abundance, but precisely to the passage from use value to sign + + value, so here there is something new that is not linked to the end of abundance. + +

+ +

+ Secondly, all this does not mean that the domestic universe—the home, its objects, + + etc.— is not still lived largely in a traditional way —-social, psychological, differential, etc. + + It means rather that the stakes are no longer there, that another arrangement or life-style is + + virtually in place, even if it is indicated only through a technologistical discourse which is + + often simply a political gadget. But it is crucial to see that the analysis that one could make of + + objects and their system in the '60s and ’70s essentially began with the language of adver- + + tising and the pseudo-conceptual discourse of the expert. “Consumption,” the “strategy of + + desire,” etc, were first only a metadiscourse, the analysis of a projective myth whose actual + + effect was never really known. How people actually live with their objects—at bottom, one + + knows no more about this than about the truth of primitive societies. That’s why it is often + + problematic and useless to want to verify (statistically, objectively) these hypotheses, as one + + ought to be able to do as a good sociologist. As we know, the language of advertising is first + + for the use of the advertisers themselves. Nothing says that contemporary discourse on + + computer science and communication is not for the use alone of professionals in these fields. + + (As for the discourse of intellectuals and sociologists themselves . . .) + +

+
+
+

+ 5. For an expanded explanation of this idea, see Baudrillard’s essay “La précession des + + simulacres,” Simulacres et Simulation (Paris: Galilée, 1981). An English translation + + appears in Simulations (New York: Foreign Agent Series, Semiotext(e) Publications, + + 1983). [Tr.] . + +

+ +

+ 6. Areference to Guy Debord's La société du spectacle (Paris: Buchet-Chastel, 1968). [Tr.] + +

+ +

+ 7. Roger Caillois, Les jeux et les hommes (Paris: Gallimard, 1958). [Tr.] + +

+
+
+ + + diff --git a/ilinx/FS01.html b/ilinx/FS01.html new file mode 100644 index 0000000..8bc1e6f --- /dev/null +++ b/ilinx/FS01.html @@ -0,0 +1,259 @@ + + + + + @@@ilinχ + + + + + + +
+ AUG. 24/11:00-12:30/GOLD ROOM
+ SESSION 4: Complex Information Processing

+ +

4.2: A File Structure for The Complex, The Changing and the Indeterminate


+

T. H. Nelson Vassar College, Poughkeepsie, N.Y.



+
+ THE KINDS OF FILE structures required if we are to use the computer for personal files and as an adjunct to creativity are wholly different in character from those customary in business and scientific data processing. They need to provide the capacity for intricate and idiosyncratic arrangements, total modifiability, undecided alternatives, and thorough internal documentation.

+ The original idea was to make a file for writers and scientists, much like the personal side of Bush's Memex, that would do the things such people need with the richness they would want. But there are so many possible specific functions that the mind reels. These uses and considerations become so complex that the only answer is a simple and generalized building-block structure, user-oriented and wholly general-purpose.

+ The resulting file structure is explained and examples of its use are given. It bears generic similarities to list-processing systems but is slower and bigger. It employs zippered lists plus certain facilities for modification and spin-off of variations. This is technically accomplished by index manipulation and text patching, but to the user it acts like a multifarious, polymorphic, many-dimensional, infinite blackboard.

+ The ramifications of this approach extend well beyond its original concerns, into such places as information retrieval and library science, motion pictures and the programming craft; for it is almost everywhere necessary to deal with deep structural changes in the arrangements of ideas and things.

+ I want to explain how some ideas developed and what they are. The original problem was to specify a computer system for personal information retrieval and documentation, able to do some rather complicated things in clear and simple ways. The investigation gathered generality, however, and has eventuated in a number of ideas. These are an information structure, a file structure, and a file language, each progressively more complicated. The information structure I call zippered lists; the file structure is the ELF, or Evolutionary Lis't File; and the file language (proposed) is called PRIDE.

+ In this paper I will explain the original problem. Then I will explain why the problem is not simple, and why the solution (a file structure) must yet be very simple. The file structure suggested here is the Evolutionary List File, to be built of zippered lists. A number of uses will be suggested for such a file, to show the breadth of its potential usefulness. Finally, I want to explain the philosophical implications of this approach for information retrieval and data structure in a changing world.

+ This work was begun in 1960 without any assistance. Its purpose was to create techniques for handling personal file systems and manuscripts in progress. These two purposes are closely related and not sharply distinct. Many writers and research professionals have files or collections of notes which are tied to manuscripts in progress. Indeed, often personal files shade into manuscripts, and the assembly of textual notes becomes the writing of text without a sharp break.

+ I knew from my own experiment what can be done for these purposes with card file, notebook, index tabs, edge-punching, file folders, scissors and paste, graphic boards, index-strip frames, Xerox machine and the roll-top desk. My intent was not merely to computerize these tasks but to think out (and eventually program) the dream file: the file system that would have every feature a novelist or absent-minded professor could want, holding everything he wanted in just the complicated way he wanted it held, and handling notes and manuscripts in as subtle and complex ways as he wanted them handled.

+ Only a few obstacles impede our using computer-based systems for these purposes. These have been high cost, little sense of need, and uncertainty about system design.

+ The costs are now down considerably. A small computer with mass memory and video-type display now costs $37,000; amortized over time this would cost less than a secretary, and several people could use it around the clock. A larger installation servicing an editorial office or a newspaper morgue, or a dozen scientists or scholars, could cost proportionately less and give more time to each user.

+ The second obstacle, sense of need, Is a matter of fashion. Despite changing economies, it is fashionably believed that computers are possessed only by huge organizations to be used only for vast corporate tasks or intricate scientific calculations. As long as people think that, machines will be brutes and not friends, bureaucrats and not helpmates. But since (as I will indicate) computers could do the dirty work of personal file and text handling, and do it with richness and subtlety beyond anything we know, there ought to be a sense of need. Unfortunately, there are no ascertainable statistics on the amount of time we waste fussing among papers and mislaying things. Surely half the time spent in writing is spent physically rearranging words and paper and trying to find things already written; if 95% of this time could be saved, it would only take half as long to write something.

+ The third obstacle, design, is the only substantive one, the one to which this paper speaks.

+ Let me speak first of the automatic personal filing system. This idea is by no means new. To go back only as far as 1945, Vannevar Bush, in his famous article "As We May Think "l , described a system of this type. Bush's paper is better remembered for its predictions in the field of information retrieval, as he foresaw the spread and power of automatic document handling and the many new indexing techniques it would necessitate. But note his predictions for personal filing:

+ "Consider a future device for individual use, which is a sort of mechanized private file and library. It needs a name, and, to coin one at random, "memex" will do. A memex is a device in which an individual stores all his books, records, and con~nunications, and which is echanized so that it may be consulted with exceeding speed and flexibility. It is an enlarged intimate~ supplement to his memory.

+ "It consists of a desk, and while it can pres~mebly be operated from a distance, it is primarily the piece of furniture at which he works. On the top are slanting translucent screens, on which material can be projected for convenient reading. There is a keyboard, and sets of buttons and levers. Otherwise it looks like an ordinary desk.

+ "A special button transfers him immediately to the first page of the index. Any given book_ of his library /_and presumably other textual material, such as notes/ can thus be called up and consulted with far greater facility than if it were taken from a shelf. As he has several projection positions, he can leave one item in position while he calls up another. He can add marginal notes and comments, .... " (i, 106-7)

Understanding that such a machine required new kinds of filing arrangements, Bush stressed his file's ability to store related materials in associative trails, lists or chains of documents joined together.

"When the user is building a trail, he names it, inserts the name in his code book, and taps it out on his keyboard. Before him are the two items to be joined, projected onto adjacent viewing positions. At the bottom of each there are a number of blank code spaces, and a pointer is set to indicate one of these on each item. The user taps a single key, and the items are permanently joined ....

"Thereafter, at any time, when one of these items is in view, the other can be instantly recalled merely by tapping a button below the corresponding code space. Moreover, when numerous items have been thus joined together to form a trail, they can be reviewed in turn, rapidly or slowly, by deflecting a lever like that used for turning the pages of a book. It is exactly as though the physical items had been gathered together from widely separated sources and bound together to form a new book. It is more than this, for any item can be joined into numerous trails ....

"Thus he goes, building a trail of many items. Occasionally he inserts a comment of his own, either linking it into the main trail or joining it by a side trail to a particular item .... " (i, 107)

Two decades later, this machine is still unavailable*.

The hardware is ready. Standard computers can handle huge bodies of written information, storing them on magnetic recording media and displaying their contents on CRT consoles, which far outshine desktop projectors. But no programs, no file software are standing ready to do the intricate filing job (keeping track of associative trails and other stKuctures) Ithat the active scientist or thinker wants and needs. While WallaceZ reports that the System Development Corporation has found it worthwhile to give its employees certain limited computer facilities for their own filing systems, this is a bare beginning.

Let us consider the other desideratum, manuscript handling. The remarks that follow are intended to apply to all forms of writing, including fiction, philosophy, sermons, news and technical writing.

+ The problems of writing are little understood, even by writers. Systems analysis in this area is scanty; as elsewhere, the best doers may not understand what they do. Although there is considerable anecdote and lore about the different physical manuscript and file techniques of different authors, literary tradition demerits any concern with technical systems as detracting from "creativity." (Conversely, technical people do not always appreciate the difficulty of organizing text, since in technical writing much of the organization and phraseology is given, or appears to be.) But in the computer sciences we are profoundly aware of the importance of systems details, and of the variety of consequences for both quality and quantity of work that result from different systems. Yet to design and evaluate systems for writing, we need to know what the process of writing is.

There are three false or inadequate theories of how writing is properly done. The first is that writing is a matter of inspiration. While inspiration is useful, it is rarely enough in itself. "Writing is l~/o inspiration, 9Y/o perspiration," is a common saying. But this leads us to the second false theory, that "writing consists of applying the seat of the pants to the seat of the chair." Insofar as sitting facilitates work, this view seems reasonable, but it also suggests that what is done while sitting is a matter of comparative indifference; probably not.

The third false theory is that all you really need is a good outline, created on prior consideration, and that if the outline is correctly followed the required text will be produced. For most good writers this theory is quite wrong. Rarely does the original outline predict well what headings and sequence will create the effects desired: the balance of emphasis, sequence of interrelating points, texture of insight, rhythm, etc. We may better call the outlining process inductive: certain interrelations appear to the author in the material itself, some at the outset and some as he works. He can only decide which to emphasize, which to use as unifying ideas and principles, and which to slight or delete, by trying. Outlines in general are spurious, made up after the fact by examining the segmentation of a finished work. If a finished work clearly follows an outline, that o~line probably has been han~nered out of many inspirations, comparisons and tests**.

Between the inspirations, then, and during the sitting, the task of writing is one of rearrangement and reprocessing, and the real outline develops slowly. The original ~rude or fragmentary texts created at the outset generally undergo many revision processes before they are finished. Intellectually they are pondere~ juxtaposed, compared, adapted, transposed, and judged; mechanically they are copied, overwritten with revision markings, rearranged and copied again. This cycle may be repeated many times. The whole grows by trial and error in the processes of arrangement, comparison and retrenchment. By examining and mentally noting many different versions, some whole but most fragmentar~l the intertwining and organizing of the final written work gradually takes place***.

Certain things have been done in the area of computer manuscript handling. IBM recently announced its "Administrative Terminal SysteW'5,6,7, 8 which permits the storage of unfinished sections of text in computer memory, permits various modifications by the user, and types up the final draft with page numbers, right justification and headers.

While this is a good thing, its function for manuscripts is cosmetic rather than organizing. Such a system can be used only with textual sections which are already well organized, the visible part of the iceberg. The major and strenuous part of such writing must already have been done.

+ If a writer is really to be helped by an automated system, it ought to do more than retype and transpose: it should stand by him during the early periods of muddled confusion, when his ideas are scraps, fragments, phrases, and contradictory overall designs. And it must help him through to the final draft with every feasible mechanical aid-making the fragments easy to find, and making easier the tentative sequencing and juxtaposing and comparing.

It was for these two purposes, taken together-personal filing and manuscript assembly-that the following specifications were drawn up. Here were the preliminary specifications of the system: It would provide an up-to-date index of its own contents (supplanting the "code book" suggested by Bush). It would accept large and growing bodies of text and commentary, listed in such complex forms as the user might stipulate. No hierarchical file relations were to be built in; the system would hold any shape imposed on it. It would file texts in any form and arrangement desired-combining, at will, the functions of the card file, loose-leaf notebook, and so on. It would file under an unlimited number of categories. It would provide for filing in Bush trails. Besides the file entries themselves, it would hold co~mnentaries and explanations connected with them. These annotations would help t]ne writer or scholar keep track of his previous ideas, reactions and plans, often confusingly forgotten.

In addition to these static facilities, the system would have various provisions for change. The user must be able to change both the contents of his file and the way they are arranged. Facilities would be available for the revising and rewording of text. Moreover, changes in t]he arrangements of the file's component parts should be possible, including changes in sequence, labelling, indexing and comments.

It was also intended that the system would allow index manipulations which we may call dynamic outlining (or dynamic ~indexing). Dynamic outlining uses the change in one text sequence to guide an automatic change in another text sequence. That is, changing an outline (or an index) changes the sequence of the main text which is linked with it. This would permit a writer to create new drafts with a relatively small amount of effort, not counting recordings.

However, because it is necessary to ,examine changes and new arrangements before deciding to use or keep them, the system must not commit the user to a new version until he is ready. Indeed, the system would have to provide spin-off facilities, allowing a draft of a work to be preserved while its successor was created. Consequently the system must be able to hold several-- in fact, many-- different versions of the same sets of materials. Moreover, these alternate versions would remain indexed to one another, so that however he might have changed their sequences, the user could compare their equivalent parts.

Three particular features, then, would be specially adapted to useful change. The system would be able to sustain changers in the bulk and block arrangements of its contents. It would permit dynamic outlining. And it would permit the spinoff of many different drafts, either successors or variants, all to remainwithin the file for comparison or use as long as needed. These features we may call evolutionary.

The last specification, of course, one that emerged from all the others, was that it should not be complicated.

These were the original desiderata. It was not expected at first that a system for this purpose would have wider scope of application; these jobs seemed to be quite enough. As work continued, however, the structure began to look more simple, powerful and general, and a variety of new possible uses appeared. It became apparent that the System might be suited to many unplanned applications involving multiple categories, text summaries or other parallel documents, complex data structures requiring human attention, and files whose relations would be in continuing change.

Note that in the discussion that follows we will pretend we can simply see into the machine, and not worry for the present about how we can actually see, understand and manipulate these files. These are problems of housekeeping, I/0 and display, for which many solutions are possible.

Elements of the ELF

What was required we may call an evolutionary file structure: a file structure that can be shaped into various forms, changed from one arrangement to another in accordance with the user's changing need. It was apparent also that some type of list structure was necessary. Making the file out of lists would allow different categories of personal notes, separate drafts, outlines and master indices all to be handled as lists of some sort; their segments could then be manipulated through automatic handling of index numbers. The resulting file structure I will, accordingly, call the Evolutionary List File, or ELF, since it is an evolutionary file structure constructed with lists. The system proposed here is not the only ELF possible. It is built upon a specific technique of attaching lists together which has a natural resistance to becoming confused and messy.

As computer-based systems grow in capability and diversity of uses, they tend to become more and more cluttered with niggling complications, hidden passageways, and lurking, detailed interlocks, restrictions, specializations, provisos. These should be forsworn, if possible, in the system under discussion, so that it might be attractive to laymen (including artists and writers) who feel unkindly disposed toward computers. It should readily adapt to their own styles of handling things, imposing few conventions or methods of use. How could this imposition be avoided? And among so many interesting and possible system functions and file relations, how may the users know what connections to make, how may they understand what they are doing, and how may they avoid muddling and losing the things they are working with?

The answer, I think you see, is to choose a very simple structure that can be used and compounded in many different ways. The basic arrangement chosen for these purposes is an information structure I will refer to as zippered lists. (We might call it permutation-invariant one-for-one inter-list entry-linking, but that is not necessary.)

There are only three kinds of things in the zippered-list ELF, with no predetermined relations among them-no hierarchies, machine-based features or trick exceptions. The system is user-oriented and open-faced, and its clear and simple rules may be adapted to all purposes.

The ELF has three elements: entries, lists and links. An entry is a discrete unit of information designated by the user. It can be a piece of text (long or short), a string of symbols, a picture or a control designation for physical objects or operations.

+ A list is an ordered set of entries designated by the user. A given entry may be in any number of lists.

A link is a connector, designated by the user, between two particular entries which are in different lists; Figure I. An entry in one list may be linked to only one entry in another list. On the left we see two zippered lists. Between the entries of list A and those of B are dashed lines, representing the links between the two lists.

On the right is the table of links as it might look to a machine. The machine can read this table from right to left or left to right, finding entries in B that correspond to given entries in A, or vice versa. A change in the sequence of either list, or additions to either list, will not: change the links that stand between them. Changes in the link structure will occur only if the user specifically changes the links, or if he destroys entries which are linked to others.

To be technical, then, two lists are zippered if there are any pairwise links between their respective elements, each element is in no more than one link pair, and these links are unaffected by permutation of the lists, remaining affixed to the same pairs of elements. It is not required that the two lists be of the same length, or, even if they are, that all entries have a link to the other list.

The ELF's File Operations

Zippered lists are an information structure; the Evolutionary List File is a file structure. The ELF described in this paper holds its contents exclusively as zippered (or unzippered) lists. But the file structure must also include a set of operations by which it may be modified. These file operations exist for creating, adjusting or removing the entry, list and ]Link, and for manipulating the sequence relation. An ELF is actually any machine ~ich will, on command, carry out the basic operations on entry, list, link and sequence.

Entries. The user may create new entries at any time, putting anything in them that he thinks appropriate. Entries ~y be combined or divided (unless indivisible, like objects, commands, etc.) Entries may be put in any list, and the same entry may be put in different lists. The user may direct that entries of one list be automatically copied onto another list, without affecting the original list.

Lists. The user may create lists and assign entries to them. He may at will make new copies of lists. He may rearrange the sequence of a list, or copy the list and change the sequence of that copy. Lists may be combined; lists may be cut into sublists.

Links. Ths user may create links between entries that are in different lists. Any number of legal links may be created, although the upper limit of links between any two lists is determined by the l-for-I rule. When an entry or a list is copied into a list, links will remain between parent and daughter entries. Moreover, after a list-copying operation, the daughter list will have the same links to all other lists as does the parent list.

Sequences. The user may put a list in any sequence he wishes. (A copied list will maintain the original sequence until modified.) Sequences may be transferred between lists via the links: if the sequence of A is transferred to B, each entry of A linked to an entry in B takes tile sequential position of its linked No definite meaning is assigned to these entities or operations by the system; the user is free to let them mean anything he likes. A list may be a category, trail, index, dialogue, catalogue or poem, and lists may be assembled into larger structures. The ELF may be thought of as a place; not a machine, but a piece of stationery or office equipment with many little locations which may be rearranged with regard to one another****.

Note that zippered lists generate only one of various possible Evolutionary List Files. Indeed, the description of the file structure given here is in some ways restrictive: the ELF could take a number of other, closely similar forms and still be much the same thing. For example, it would be possible to allow subentries and superentries into the file, to behave and link up like normal entries, even though they contained or were contained in other entries. But the equivalent can be done with the current system. Another possibility would be to allow links other than 1-for-l; these could be modal, the different link-modes having different meanings to the user. Or we might make it an evolutionary network file, allowing any two entries to be connected. Or, besides such general changes in the rules, plausible changes and accessory functions for any purposes could be introduced outside the given file structure, even including modifications and widgets to do some of the same things "more easily."

But to the user such complication might render the system far less handy or perspicuous. The ELF, with its associated techniques as described above, is simple and unified. Many tasks can be handled within the file structure. This means it can be of particular benefit to people who want to learn without complications and use it in ways they understand. For psychological, rather than technical reasons, the system should be lucid and simple. I believe that this ELF best meets these requirements.

Technic~l Aspects

Since the ELF description above bears some resemblance to the list languages, such as IPL, SLIP, etc., a distinction should be drawn. These list languages ~ are particularly suited to processing data, fast and iteratively, whose elements are manipulable in Newell-Shaw-Simon lists. Essentially they my be thought of as organizations of memory which facilitate sequential operations on unpredictably branching or hierarchical data. These data may change far too quickly for human intervention. Evolutionary file structures, and the ELF in particular, are designed to be changed piecemeal by a human individual. While it might be convenient to program an ELF in one of these languages, the low speed at which user file commands need to be executed makes such high-powered implementation unnecessary; the main problem is to keep track of the file's arrangements, not to perform computation on its contents. Although work has been done to accomodate the list-language approach to larger chunks of material than usual I0, the things people will want to put into an ELF will typically be too big for core memory.

The ELF does in fact share some of the problems of the list languages: not available-storage accounting or garbage collection (concerns associated with organization of fast memory for processing, which may be avoided at slower speeds), but the problems of checkout for disposal (what other lists is an entry on?) and list naming. The former problem is rather straightforwardly solved 11, P" 164; the latter is complicated in ways we cannot cover here.

+ The ELF appears to be closest, topologically and in other organizing features, to the Multilist system described by Prywes and Gray 12. Like that system, it permits putting entries in many different lists at once. However, in current intent 13 that system is firmly hierarchical, and thus somewhat removed from the ELF's scope of application. Another closely related system is the Integrated Data Store of Bachmanl4,15,16,17,18; this is intended as a hardware-software system for disc I/0 and storage arrangement, but in its details it seems the ELF's close relative. Each of these systems has a cormection logic that might be feasible as a basis for an ELF different from this one. Or, either might prove a convenient programming base for the implementation of this file structure.

Another obvious technical question =mst be considered. How can the ELF allow "unlimited" copies of entries and lists? By patching techniques, of course. Variant entries and lists can take virtually no space, being modification data plus pointers to the original. When a modified version of a list or entry is created, the machine patches the original with the changes necessary to make the modified version: Figure 2.

USES

In the discussion that follows, we will examine various possible applications of zippered lists and the ELF, and postpone discussing the file language they require. Finally we will return to this problem, and describe the file language PRIDE whose additional features are neededto adapt the ELF for the uses originally discussed.

By assigning entries to lists, the ELF may be used as a glorified card file, with separate lists used for categories, trails, etc. This permits extensive cross-indexing by the assignment of one entry to different lists. It permits subsets and sub-sequences for any use to be held apart and examined without disturbing the lists from which they have been drawn, by copying them onto other, new lists. The ELF permits the filing of historical trails or associative (Bush) trails through documents, business correspondence, belles-lettres, case law, treaties, scholarly fields and history, and the mixture of trail with categorical filing. These are the simple useR; the compound uses are much more interesting. But since we cannot intuitively fit every possible conceptual relationship into zippered lists, imaginative use is necessary. Remember that there is no correct way to use the system. Given its structure, the user may figure out any method useful to him. A number of different arrangements can be constructed in the ELF, using only the basic elements of entry, list and link. Zippered lists may be assembled into rectangular arrays, lattices and more intricate configurations. These assemblies of lists may be assigned meaning in combination by the user, and the system will permit them to be stored, displayed, taken apart for examination, and corrected, updated, or modified.

By using such combining arrangements on lists composed of text, the file can be self-documenting, with all labelling and documentation kept integrally within the file structure. It is thus possible to incorporate, in a body of information filed in the ELF, various levels of index, sunmmry, explanation and commentary. Many useful ways of listing and linking such documentation are possible. In Figure 3 we see some of the ways that documentary lists may be linked together. The lists shown are outline, suboutline, draft, subdraft, summary, commentary and source list. These are not all the possible types of documentary lists; for example, "footnotes" are omitted. The ELF will permit any number of these documentary lists; for example, "footnotes" are omitted. The ELF will permit any number of these documentary lists; observe that they can be built on one another, and indefinitely compounded. The system will have no trouble accepting a commentary on a commentary on a subdraft of an outline for a variant list of source materials.

Figure 3 shows also how two lists may contain some of the same entries. The dashed line represents linkage between entries, the solid line shows that both lists contain the same entry. This may be useful for creating alternate versions, or, as in this example, the lists containing the same entry may have different purposes. Here, for instance, an entry in the summary is also to be found in the main draft.

This self-documentation feature permits any string of text in the ELF, long or short, to be annotated or footnoted for scholarly or other purposes. Such marginalia can be temporary or permanent, for the private memoranda of an individual or for communication among different persons using the file.

In a like manner, the ELF is capable of storing many texts in parallel, if they are equivalent or linked in some way. For example, instruction manuals for different models o~ the same machine may be kept in the file as linked lists, and referred to when machines are to be compared, used or fixed. This is of special use to repairmen, project managers and technical writers.

Moreover, the ELF's cross-sequencing feature -the fact that links ignore permutations-permits the collation of very different cognate textual materials for comparison and understanding. In law, this would help in comparing statutes (or whole legal systems); in literature, variorum editions and parodies. Thus such bodies as the Interpreter's Bible and a Total Shakespeare (incorporating Folios, bowdlerizations, satires and all critical commentary) could be assembled for study.

Let me try to illustrate the possible comprehensiveness and versatility of this file structure as applied to texts. Figure 4 shows the different arrangements that might be used by one man-in this case an historian writing a book-to assemble and integrate his intellectual and professional concerns. Although it is impossible to show the links between all the separate entries of these lists-the entries are not themselves discernible in this drawing-it is possible to note the kinds of links between lists. A thin line between lists shows that some links exist; a solid line indicates that some entries of both lists are the same.

Perhaps this looks complicated. In fact, each of the connectors shows an indexing of one body of information to another; this user may query his file in any direction along these links, and look up the parts of one list which are related to parts of another. Therefore the lines mean knowledge and order. Note that in such uses it is the man's job to draw the connections, not the machine's. The machine is a repository and not a judge.

The ELF may be an aid to the mind in creative tasks, allowing the user to compare arrangements and alternatives with some prior ideal. This is helpful in planning nonlinear assemblages (museum exhibits, casting for a play,) or linear constructions of any kind. Such linear constructions include not only written texts; they can be any complicated sequences of things, such as motion pictures (in the editing stage) and computer programs.

Indeed, computer programming with an on-line display and the ELF would have a number of advantages. Instructions might be interleaved indefinitely without resorting to tiny writing. Moreover, the programmer could keep up work on several variant approaches and versions at the sane time, and easily document their overall features, their relations to one another and their corresponding parts. Adding a load-and-go compiler would create a self-documenting programming scratchpad.

The natural shape of information, too, may call for the ELF. For instance, sections of information often arrange themselves naturally in a lattice structure, whose strands .need to be separately examined, pondered or tested. Such lattices include PERT networks, programmed instruction sequences, history books and genealogical records. (The ELF can handle genealogical source documentation and its original text as well.) Indeed, any informational networks that require storage, handling and consideration will fit the ELF; a feature that could have applications in plant layout, social psychology, contingency planning, circuit design and itineraries.

The ELF may, through its mutability:, its expansibility, and its self-documentation features, aid in the integration, understanding and channeling of ideas and problems that will not yield to ordinary analysis or customary reductions; for instance, the contingencies of planning, which are only partially Boolean. Often the reason for a so-called Grand Strategy in a setting is that we cannot keep track of the interrelations of particular contingencies. The ELF could help us understand the interrelations of possibilities, consequences, and strategic options. In a logically similar case, evaluating espionage, it might help trace consistencies and contradictions among reports from different spies.

The use of an ELF as the basis for a management information system is not inconceivable. Its evolutionary capability would provide a smooth transition from the prior systems, phasing out old paperwork forms and information channels piecemeal. Beginning with conventional accounting arrays and information flow, and moving through discrete evolutionary steps, the ELF might help restructure an entire corporate system. Numerical subroutining could permit the system to encompass all bookkeeping. The addresses of all transaction papers, zippered to lists of their dates and contents, would aid in controlling shipments, inventory and cash. The ELF's cross-sequencing feature could be put to concrete uses, helping to rearrange warehouses (and the company library) by directing the printout of new labels to guide physical rearrangement. Inventories, property numbers and patents could be so catalogued and recatalogued in the ELF. Legal documents, correspondence, company facts and history could be indexed oi: filed in historical and category trails. And upper management could add private annotations to the public statements, reports and research of both the organization and its competitors, with amendments, qualifications, and inside dope.

PRIDE

While the ELF as described is expected to be general and useful, the original purposes described at the beginning of this paper call for certain further provisions. Now I would like to describe a desirable file and information handling language that will meet these needs, called the PRIDE (Personalized Retrieval, Indexing, and Documentation Evolutionary) System. Its purpose is to facilitate the use of an ELF. The system described is not yet implemented, nor even fully specified, but let us speak as though it is.

PRIDE includes the ELF operations. However, for safety and convenience nearly every operation has an inverse. The u~er must be permitted, given a list of what he has done recently, to undo it. It: follows that "destroy" instructions must fail safe; if given accidentally, they are to be revocable. For safety's sake, it should take several steps to throw a thing away completely. An important option would permit the user to retrace chronologically everything he does on the system.

Most of PRIDE's applications will involve text handling, either as a primary purpose or in the documentation of some other task. Hence a number of features exist for convenient text usage. Text handling con~ands (for modifying entries) include the equivalents of standard proofreader's marks for insertion, deletion and switching of sections.

Also for text usage and user comfort, there are certain system non-restrictions. There is no practical restriction on the length of an input entry, and it need follow only the most trivial format conventions. In addition, the machine will interrupt any other PRIDE function to receive input text (inspiration mode). It is necessary that entries of unspecified length be acceptable to the system without fuss or warning. PRIDE does not stipulate fixed record lengths, either for input or storage; any such restrictions would have a psychologically cramping effect. There is no reason the system cannot appear to the user to have no fixed or standard unit lengths; the machine's operating units and sections should not concern him.

Ideally, neither the length of entries, the number of lists, or any other parameter of a file is restricted by anything but the absolute size of all memory. This is a difficult requirement for the progra~ner. Routinely, however, the system should be able to accept entries thousands of characters long, accept hundreds of entries to a list, and accept hundreds of lists in the file. Otherwise, extraneous consideration by the user of whether there's room to add material or try out an offshoot begins to interfere with the system's use.

Although I have avoided discussing the means by which the user sees his file, PRIDE must, of course, have functions and con~nands for .this purpose. For a CRT these include quick lookup schemes 19, preferably with moving menus and means of readily changing the hierarchy of lookup structure; as well as visual cuing and mnemonic formats, including cursor maneuvers, overlays and animated wipes and other transitions. But such glamorous features do not reduce the challenge or worth of working through a line printer, or seeking to make the system useful under a batchprocessing monitor.

Many instructions aside from those already mentioned will be needed by the user; particular applications will require such operations as text lookup and integer arithmetic. And surely all the uses of the system have not been anticipated. Hence a subroutining facility is to be available, reaching to assembly language or opening into the machine's other languages. This could be used for processing the file's contents (e.g., numbers or character strings), or for creating more convenient combined operations out of the different operations dealing with file structure, input-output and text.

PRIDE is one possible way to make an ELF, or any evolutionary file structure, useful. PRIDE would be a foreground, free-standing language with the primary mission of handling files and manuscripts, as discussed at the beginning, and secondary applications in ordering and documenting other kinds of complex information. Its major use would presumably be in connection with time-shared display and information systems. But such a language is only one suggestion. Actually, there is not much reason that the ELF could not be made a standard file structure for all purposes; unused capabilities would not intrude, but would still be there if unexpectedly wanted. ELF systems could be built into the file capabilities of general utility software. The actual computation involved is relatively trivial, and the ELF could easily be incorporated into I/O routines or data channel languages. Even small-scale hardware implementations are not unthinkable; a control box between a typewriter and a tape recorder, for instance.

All these applications depend, of ccmrse, on the system being actually useful, which is an empirical question. A nt~ber of possible applications have been mentioned. But, except as a crutch to man's fallible mind, is there any reason to suppose that the system has any general applicability in principle?

Philosophy

As "philosophy' I want to speak of two major things. First, complex file structures (like the ELF) make possible the creation of complex and significant new mediam, the hypertext and hyperfilm. Second, evolutionary file structures (like the ELF) make it possible to keep track of things that have been changing, without our awareness, all along. These include the major categories of hu, mn thought, which will go on changing.

Systems of paper have grave limitations for either organizing or presenting ideas. A book is never perfectly suited to the reader; one reader is bored, another confused by the same pages. No system of paper-book or programmed text-can adapt very far to the interests or needs of a particular reader or student.

However, with the computer-driven display and mass memory, it has become possible to create a new, readable medium, for education and enjoyment, that will let the reader find his level, suit his taste s and find the parts that take on special meaning for him, as instruction or entertainment.

Let me introduce the word "hypertext"***** to mean a body of written or pictorial material interconnected in such a complex way that it could not conveniently be presented or represented on paper. It may contain sunmmries, or maps of its contents and their interrelations; it may contain annotations, additions and footnotes from scholars who have examined it. Let me suggest that such an object and system, properly designed and administered, could have great potential for education, increasing the student's range of choices, his sense of freedom, his motivation, and his intellectual grasp******. Such a system could grow indefinitely, gradually including more and more of the ~rld's written knowledge. However, its internal file structure would have to be built to accept growth, change and complex informational arrangements. The ELF is such a file structure.

Films, sound recordings, and video recordings are also linear strings, basically for mechanical reasons. But theses, too, can now be arranged as non-linear systems-for instance, lattices-for editing purposes, or for display with different emphasis. (This would naturally require computer control, using the ELF or a related system, and various cartridge or re-recording devices.) The hyperfilm-a browsable or vari-sequenced movie-is only one of the p~ssible hypermedia that require our attention.

So much for what we can create afresh with this structure. What about the things that have already been around awhile?

The physical universe is not all that decays. So do abstractions and categories. Human ideas, science, scholarship and language are constantly collapsing and unfolding. Any field, and the corpus of all fields, is a bundle of relationships subject to all kinds of twists, inversions, involutions and rearrangement: these changes are frequent but unpredictable. Recall that computers, once a branch of mathematics, are now their own field (but the development of fluid logic indicates a possible merger with the art of wind instruments). Social relations, psycholinguistics and psychonomics are new fields, even though they rest on no special discoveries; political economy, natural history and social ethics are gone. Within a given area, too, the subheadings of importance are in constant flux. In the social sciences, for instance, the topic headings of the nineteen-thirties now sound quaint.

While the disappearance and up-ending of categories and subjects may be erratic,, it never stops; and the meaning of this for information retrieval should be clear. Last week's categories, perhaps last night's field, may be gone today. To the extent that information retrieval is concerned with seeking true or ideal or permanent codes and categories-and even the most sophisticated "role indicator" syntaxes are a form of this endeavor-to this extent, information retrieval seems to me to be fundamentally mistaken. The categories are chimerical (or temporal) and our categorization systems must evolve as they do. Information systems must have built in the capacity to accept the new categorization systems as they evolve from, or outside, the framework of the old. Not just the new material, but the capacity for new arrangements and indefinite rearrangements of the old, must be possible. In this light, the ELF, indefinitely revisible and unperturbed by changes in overall structural relations, offers some promise.

There is, then, a general rationale. I believe that such a system as the ELF actually ties in better than anything previously used with the actual processes by which thought is progressively organized, whether into stories or hypertext or library categories. Thus it may help integrate, for human understanding, bodies of material so diversely connected that they could not be untangled by the unaided mind. For both logistic and psychological reasons it should be an important adjunct to imaginative, integrating and creative enterprises. It is useful where relationships are unclear; where contingencies and tasks are undefined and unpredictable; where the structures or final outcome it must represent are not yet folly known; where we do not know the file's ultimate arrangement; where we do not know what parts of the file are most important; or where things are in permanent and unpredictable flux. Perhaps this includes more places than we think. And perhaps here, as in biology, the only ultimate structure is change itself.

CONCLUSION

This paper has proposed a different kind of structure for handling information.

Essentially it is a file with certain storage provisions which, combined, permit the file's contents to be arranged any-which-way, and in any number of ways at once. A set of manipulation functions permits making changes or keeping track of developments. The file is capable of maintaining many different arrangements at the same time, many of which may be dormant. This makes ordinary measures of efficiency inappropriate; as with high fidelity music systems, enrichment is derived from the lavish use of surplus capacity.

The key ideas of the system are the inter-linking of different lists, regardless of sequence or additions; the re-configurable character of a list complex into any humanly conceivable forms; and the ability to make copies of a whole list, or list complex-in proliferation, at will-to record its sequence, contents or arrangement at a glvenmoment. The Evolutionary List File is a member of the class of evolutionary file structures; and its particular advantages are thought to be psychological, not technical. Despite this file's adaptability to complex purposes, it has the advantage of being conceptually very simple. Its structure is complete, closed, and unified as a concept. This is its psychological virtue. Its use can be easily taught to people who do not understand computers. We can use it to try out combinations that interest us, to make alternatives clear in their details and relationships, to keep track of developments as they occur, to sketcW things we know, like or currently require; and it will stand by for modifications. It can be extended for all sorts of purposes, and implemented or incorporated in any programming language.

There are probably various possible file structures that will be useful in aiding creative thought. This one operates, as it were, on lists that hook together sideways, and their copies. There may be many more. + +
+ * The Bush Rapid Selector 2 is a powerful microfilm instru- ment, but it is not suited to idiosyncratic personal uses, nor to evolutionary modification, as described.
+ ** It is believed that this account is reasonably correct for such writers as Tolstoy, Winston Churchill and Katherine Anne Porter. Those who can adhere to a prior outline faithfully, like James Fenimore Cooper, tend to be either hacks or prodigres, and do not need this system
+ *** For a poignant, mordant portrayal of the writer's struggle, the reader is directed to Gorey's "The Unstrung Harp", or "Mr Earbass Writer.s a Novel".
+ **** An ELF might even be consstructed out of cards, blocks, sticks and strings, using techniques of puppetry, but this would not be a convenient object.
+ ***** The sense of "hyper-" used here connotes exten- sion and generality; cf. "hyperspace." The criterion for this prefix is the inability of these objects to be comprised sensibly into linear media, like the text string, or even media of somewhat highe~ complexity. The ELF is a hyperfile.

+ + 1 Bush, V., "As We May Think." :['he Atlantic Monthly, p. 101-108; July, 1945.
+ 2 Hirsch, P., "The Bush :Ropid Selector." Datamation, p. 56-57; June, 1965.
+ 3 Wallace, E. M., "Experience with EDP Support of Indi- viduals' File Maintenance." Parameters of Information Science: Proceedings of the American. Documentotion Insti- tute (American Documentation Institute), p. 259-261; 1/1964.
+ 4 Gorey, E., "The Unstrung Harp; or, Mr. Earbrass Writes a Novel," Duell, Sloan and Pearce, N. Y.; 1953.
+ 5 IBM Data Processing Division, "The IBM Administrative Terminal System," Brochure 520-1146.
+ 6 IBM Technical Publications Department, "14~0/1460 Ad- ministrative Terminal System Application Description," White Plains, New York.
+ 7 Timberlake, W. D., "Administrative Terminal System" (abstract.) STWP Proceedings; May, 1965.
+ 8 Farrell, A. C., "Evolution of Automated Writing." STWP Proceedings; May, 1965.
+ 9 Bobrow, D. G., and Bertram, R., "A Comparison of List- Processing Languages." Comm. ACM, p. 231-240; April, 1964.
+ 10 Comfort, W. T., "Multiword List Items." Comm. ACM, p. 357-362; June, 1964.
+ 11 Weizenbaum, J., "Knotted List Structures." Comm. ACM, p. 161-165; Mar., 1962.
+ 12 Prywes, N. S,, and Gray, H. J., "The Multilist System for Real Time Storage and Retrieval," Proceedings of IFIP Conference, p. 112-116; 1962.
+ 13 Prywes, N. S., "Interim Technical Report: The Organi- zation of Files for Command and Control," Moore School o[ Engineering; March, 1964.
+ 14 Bachman, C. W., and Williams, S. B., "The Integrated Data Store--A General Purpose Programming System for Random Access Memories," AFIPS Conference Proceedings, p. 411-422; 1964.
+ 15 General Elect'ric Computer Department, "I-D-S:" Com- pany Brochure CPB-425.
+ 16 General Electric Computer Department, "Introduction to Integrated Data Store," Company Brochure CPB-1048; 1965.
+ 17 Bachman, C. W., "Software for Random Access Process- ing," Datamation; April, ].965. '"
+ 18 General Electric Computer Department, "Integrated Data Store: New General Electric Technique for Organizing Busi- ,less Data"; January, 1965 '
+ 19 Corbin, H. S., and Stock, G. J., "On-Line Querying via a Display Console," Fourth Nat~o~al Symposium on Informa- t:oa Display: Technical S~'ssio~ Proceedings, p. 127-154; 1964. +
+ +
+ + + + + \ No newline at end of file diff --git a/ilinx/Ixse.html b/ilinx/Ixse.html index dec27b5..e088a17 100644 --- a/ilinx/Ixse.html +++ b/ilinx/Ixse.html @@ -34,6 +34,9 @@ +

@@ -708,6 +711,8 @@ setTimeout(function(){ open.close(); }, 15000); return false; } + + alert('Ilinx is a language maze and its meaning change constantly! Words are draggable'); diff --git a/ilinx/VB01.html b/ilinx/VB01.html new file mode 100644 index 0000000..6493cc8 --- /dev/null +++ b/ilinx/VB01.html @@ -0,0 +1,1046 @@ + + + + + VB01 @ ilinx + + + + + +

+

AS WE MAY THINK

+ + by VANNEVAR BUSH

+ THE ATLANTIC MONTHLY, JULY 1945

+ + ----------------------------------------------------------------------

+ + As Director of the Office of Scientific Research and Development, Dr. + Vannevar Bush has coordinated the activities of some six thousand + leading American scientists in the application of science to warfare. + In this significant article he holds up an incentive for scientists + when the fighting has ceased. He urges that men of science should + then turn to the massive task of making more accessible our + bewildering store of knowledge. For many years inventions have + extended man's physical powers rather than the powers of his mind. + Trip hammers that multiply the fists, microscopes that sharpen the + eye, and engines of destruction and detection are new results, but the + end results, of modern science. Now, says Dr. Bush, instruments are + at hand which, if properly developed, will give man access to and + command over the inherited knowledge of the ages. The perfection of + these pacific instruments should be the first objective of our + scientists as they emerge from their war work. Like Emerson's famous + address of 1837 on "The American Scholar", this paper by Dr. Bush + calls for a new relationship between thinking man and the sum of our + knowledge. - The Editor

+ + + ----------------------------------------------------------------------

+ +
+This has not been a scientist's war; it has been a war in which all +have had a part. The scientists, burying their old professional +competition in the demand of a common cause, have shared greatly and +learned much. It has been exhilarating to work in effective +partnership. Now, for many, this appears to be approaching an end. +What are the scientists to do next?

+ +For the biologists, and particularly for the medical scientists, there +can be little indecision, for their war work has hardly required them +to leave the old paths. Many indeed have been able to carry on their +war research in their familiar peacetime laboratories. Their +objectives remain much the same.

+ +It is the physicists who have been thrown most violently off stride, +who have left academic pursuits for the making of strange destructive +gadgets, who have had to devise new methods for their unanticipated +assignments. They have done their part on the devices that made it +possible to turn back the enemy. They have worked in combined effort +with the physicists of our allies. They have felt within themselves +the stir of achievement. They have been part of a great team. Now, +as peace approaches, one asks where they will find objectives worthy +of their best.

+ + 1

+ +Of what lasting benefit has been man's use of science and of the new +instruments which his research brought into existence? First, they +have increased his control of his material environment. They have +improved his food, his clothing, his shelter; they have increased his +security and released him partly from the bondage of bare existence. +They have given him increased knowledge of his own biological +processes so that he has had a progressive freedom from disease and an +increased span of life. They are illuminating the interactions of his +physiological and psychological functions, giving the promise of an +improved mental health.

+ + +Science has provided the swiftest communication between individuals; +it has provided a record of ideas and has enabled man to manipulate +and to make extracts from that record so that knowledge evolves and +endures throughout the life of a race rather than that of an +individual.

+ + +There is a growing mountain of research. But there is increased +evidence that we are being bogged down today as specialization +extends. The investigator is staggered by the findings and +conclusions of thousands of other workers - conclusions which he +cannot find time to grasp, much less to remember, as they appear. Yet +specialization becomes increasingly necessary for progress, and the +effort to bridge between disciplines is correspondingly superficial.

+ +Professionally our methods of transmitting and reviewing the results +of research are generations old and by now are totally inadequate for +their purpose. If the aggregate time spent in writing scholarly works +and in reading them could be evaluated, the ratio between these +amounts of time might well be startling. Those who conscientiously +attempt to keep abreast of current thought, even in restricted fields, +by close and continuous reading might well shy away from an +examination calculated to show how much of the previous month's +efforts could be produced on call. Mendel's concept of the laws of +genetics was lost to the world for a generation because his +publication did not reach the few who were capable of grasping and +extending it; and this sort of catastrophe is undoubtedly being +repeated all about us, as truly significant attainments become lost in +the mass of the inconsequential.

+ +The difficulty seems to be, not so much that we publish unduly in view +of the extent and variety of present-day interests, but rather that +publication has been extended far beyond our present ability to make +real use of the record. The summation of human experience is being +expanded at a prodigious rate, and the means we use for threading +through the consequent maze to the momentarily important item is the +same as was used in the days of square-rigged ships.

+ +But there are signs of a change as new and powerful instrumentalities +come into use. Photocells capable of seeing things in a physical +sense, advanced photography which can record what is seen or even what +is not, thermionic tubes capable of controlling potent forces under +the guidance of less power than a mosquito uses to vibrate his wings, +cathode ray tubes rendering visible an occurrence so brief that by +comparison a microsecond is a long time, relay combinations which will +carry out involved sequences of movements more reliably than any human +operator and thousand of times as fast - there are plenty of +mechanical aids with which to effect a transformation in scientific +records.

+ +Two centuries ago Leibnitz invented a calculating machine which +embodied most of the essential features of recent keyboard devices, +but it could not then come into use. The economics of the situation +were against it: the labor involved in constructing it, before the +days of mass production, exceeded the labor to be saved by its use, +since all it could accomplish could be duplicated by sufficient use of +pencil and paper. Moreover, it would have been subject to frequent +breakdown, so that it could not have been depended upon; for at that +time and long after, complexity and unreliability were synonymous.

+ +Babbage, even with remarkably generous support for his time, could not +produce his great arithmetical machine. His idea was sound enough, +but construction and maintenance costs were then too heavy. Had a +Pharaoh been given detailed and explicit designs of an automobile, and +had he understood them completely, it would have taxed the resources +of his kingdom to have fashioned the thousands of parts for a single +car, and that car would have broken down on the first trip to Giza.

+ +Machines with interchangeable parts can now be constructed with great +economy of effort. In spite of much complexity, they perform reliably. +Witness the humble typewriter, or the movie camera, or the automobile. +Electrical contacts have ceased to stick when thoroughly understood. +Note the automatic telephone exchange, which has hundred of thousands +of such contacts, and yet is reliable. A spider web of metal, sealed +in a thin glass container, a wire heated to brilliant glow, in short, +the thermionic tube of radio sets, is made by the hundred million, +tossed about in packages, plugged into sockets - and it works! Its +gossamer parts, the precise location and alignment involved in its +construction, would have occupied a master craftsman of the guild for +months; now it is built for thirty cents. The world has arrived at an +age of cheap complex devices of great reliability; and something is +bound to come of it.

+ + 2

+ +A record, if it is to be useful to science, must be continuously +extended, it must be stored, and above all it must be consulted. +Today we make the record conventionally by writing and photography, +followed by printing; but we also record on film, on wax disks, and on +magnetic wires. Even if utterly new recording procedures do not +appear, these present ones are certainly in the process of +modification and extension.

+ +Certainly progress in photography is not going to stop. Faster +material and lenses, more automatic cameras, finer-grained sensitive +compounds to allow an extension of the minicamera idea, are all +imminent. Let us project this trend ahead to a logical, if not +inevitable, outcome. The camera hound of the future wears on his +forehead a lump a little larger than a walnut. It takes pictures 3 +millimeters square, later to be projected or enlarged, which after all +involves only a factor of 10 beyond present practice. The lens is of +universal focus, down to any distance accommodated by the unaided eye, +simply because it is of short focal length. There is a built-in +photocell on the walnut such as we now have on at least one camera, +which automatically adjusts exposure for a wide range of illumination. +There is film in the walnut for a hundred exposures, and the spring for +operating its shutter and shifting its film is wound once for all when +the film clip is inserted. It produces its result in full color. It +may well be stereoscopic, and record with spaced glass eyes, for +striking improvements in stereoscopic technique are just around the +corner.

+ +The cord which trips its shutter may reach down a man's sleeve within +easy reach of his fingers. A quick squeeze, and the picture is taken. +On a pair of ordinary glasses is a square of fine lines near the top +of one lens, where it is out of the way of ordinary vision. When an +object appears in that square, it is lined up for its picture. As the +scientist of the future moves about the laboratory or the field, every +time he looks at something worthy of the record, he trips the shutter +and in it goes, without even an audible click. Is this all fantastic? +The only fantastic thing about it is the idea of making as many +pictures as would result from its use.

+ +Will there be dry photography? It is already here in two forms. When +Brady made his Civil War pictures, the plate had to be wet at the time +of exposure. Now it has to be wet during development instead. In the +future perhaps it need not be wetted at all. There have long been +films impregnated with diazo dyes which form a picture without +development, so that it is already there as soon as the camera has +been operated. An exposure to ammonia gas destroys the unexposed dye, +and the picture can then be taken out into the light and examined. +The process is now slow, but someone may speed it up, and it has no +grain difficulties such as now keep photographic researchers busy. +Often it would be advantageous to be able to snap the camera and to +look at the picture immediately.

+ +Another process now in use is also slow, and more or less clumsy. For +fifty years impregnated papers have been used which turn dark at every +point where an electrical contact touches them, by reason of the +chemical change thus produced in an iodine compound included in the +paper. They have been used to make records, for a pointer moving +across them can leave a trail behind. If the electrical potential on +the pointer is varied as it moves, the line becomes light or dark in +accordance with the potential.

+ +This scheme is now used in facsimile transmission. The pointer draws +a set of closely spaced lines across the paper one after another. As +it moves, its potential is varied in accordance with a varying current +received over wires from a distant station, where these variations are +produced by a photocell which is similarly scanning a picture. At +every instant the darkness of the line being drawn is made equal to +the darkness of the point on the picture being observed by the +photocell. Thus, when the whole picture has been covered, a replica +appears at the receiving end.

+ +A scene itself can be just as well looked over line by line by the +photocell in this way as can a photograph of the scene. This whole +apparatus constitutes a camera, with the added feature, which can be +dispensed with if desired, of making its picture at a distance. It is +slow, and the picture is poor in detail. Still, it does give another +process of dry photography, in which the picture is finished as soon +as it is taken.

+ +It would be a brave man who could predict that such a process will +always remain clumsy, slow, and faulty in detail. Television +equipment today transmits sixteen reasonably good images a second, and +it involves only two essential differences from the process described +above. For one, the record is made by a moving beam of electrons +rather than a moving pointer, for the reason that an electron beam can +sweep across the picture very rapidly indeed. The other difference +involves merely the use of a screen which glows momentarily when the +electrons hit, rather than a chemically treated paper or film which is +permanently altered. This speed is necessary in television, for +motion pictures rather than stills are the object.

+ +Use chemically treated film in place of the glowing screen, allow the +apparatus to transmit one picture rather than a succession, and a +rapid camera for dry photography results. The treated film needs to +be far faster in action than present examples, but it probably could +be. More serious is the objection that this scheme would involve +putting the film inside a vacuum chamber, for electron beams behave +normally only in such a rarefied environment. This difficulty could +be avoided by allowing the electron beam to play on one side of a +partition, and by pressing the film against the other side, if this +partition were such as to allow the electrons to go through +perpendicular to its surface, and to prevent them from spreading out +sideways. Such partitions, in crude form, could certainly be +constructed, and they will hardly hold up the general development.

+ +Like dry photography, microphotography still has a long way to go. +The basic scheme of reducing the size of the record, and examining it +by projection rather than directly, has possibilities too great to be +ignored. The combination of optical projection and photographic +reduction is already producing some results in microfilm for scholarly +purposes, and the potentialities are highly suggestive. Today, with +microfilm, reductions by a linear factor of 20 can be employed and +still produce full clarity when the material is re-enlarged for +examination. The limits are set by the graininess of the film, the +excellence of the optical system, and the efficiency of the light +sources employed. All of these are rapidly improving.

+ +Assume a linear ratio of 100 for future use. Consider film of the +same thickness as paper, although thinner film will certainly be +usable. Even under these conditions there would be a total factor of +10,000 between the bulk of the ordinary record on books, and its +microfilm replica. The Encyclopoedia Britannica could be reduced to +the volume of a matchbox. A library of a million volumes could be +compressed into one end of a desk. If the human race has produced +since the invention of movable type a total record, in the form of +magazines, newspapers, books, tracts, advertising blurbs, +correspondence, having a volume corresponding to a billion books, the +whole affair, assembled and compressed, could be lugged off in a +moving van. Mere compression, of course, is not enough; one needs not +only to make and store a record but also to be able to consult it, and +this aspect of the matter comes later. Even the modern great library +is not generally consulted; it is nibbled by a few.

+ +Compression is important, however, when it comes to costs. The +material for the microfilm Britannica would cost a nickel, and it +could be mailed anywhere for a cent. What would it cost to print a +million copies? To print a sheet of newspaper, in a large edition, +costs a small fraction of a cent. The entire material of the +Britannica in reduced microfilm form would go on a sheet eight and +one-half by eleven inches. Once it is available, with the +photographic reproduction methods of the future, duplicates in large +quantities could probably be turned out for a cent apiece beyond the +cost of materials. The preparation of the original copy? That +introduces the next aspect of the subject.

+ + 3 + +To make the record, we now push a pencil or tap a typewriter. Then +comes the process of digestion and correction, followed by an +intricate process of typesetting, printing, and distribution. To +consider the first stage of the procedure, will the author of the +future cease writing by hand or typewriter and talk directly to the +record? He does so indirectly, by talking to a stenographer or a wax +cylinder; but the elements are all present if he wishes to have his +talk directly produce a typed record. All he needs to do is to take +advantage of existing mechanisms and to alter his language.

+ +At a recent World Fair a machine called a Voder was shown. A girl +stroked its keys and it emitted recognizable speech. No human vocal +cords entered in the procedure at any point; the keys simply combined +some electrically produced vibrations and passed these on to a +loud-speaker. In the Bell Laboratories there is the converse of this +machine, called a Vocoder. The loudspeaker is replaced by a +microphone, which picks up sound. Speak to it, and the corresponding +keys move. This may be one element of the postulated system.

+ +The other element is found in the stenotype, that somewhat +disconcerting device encountered usually at public meetings. A girl +strokes its keys languidly and looks about the room and sometimes at +the speaker with a disquieting gaze. From it emerges a typed strip +which records in a phonetically simplified language a record of what +the speaker is supposed to have said. Later this strip is retyped +into ordinary language, for in its nascent form it is intelligible +only to the initiated. Combine these two elements, let the Vocoder +run the stenotype, and the result is a machine which types when talked +to.

+ +Our present languages are not especially adapted to this sort of +mechanization, it is true. It is strange that the inventors of +universal languages have not seized upon the idea of producing one +which better fitted the technique for transmitting and recording +speech. Mechanization may yet force the issue, especially in the +scientific field; whereupon scientific jargon would become still less +intelligible to the layman.

+ +One can now picture a future investigator in his laboratory. His +hands are free, and he is not anchored. As he moves about and +observes, he photographs and comments. Time is automatically recorded +to tie the two records together. If he goes into the field, he may be +connected by radio to his recorder. As he ponders over his notes in +the evening, he again talks his comments into the record. His typed +record, as well as his photographs, may both be in miniature, so that +he projects them for examination.

+ +Much needs to occur, however, between the collection of data and +observations, the extraction of parallel material from the existing +record, and the final insertion of new material into the general body +of the common record. For mature thought there is no mechanical +substitute. But creative thought and essentially repetitive thought +are very different things. For the latter there are, and may be, +powerful mechanical aids.

+ +Adding a column of figures is a repetitive thought process, and it was +long ago properly relegated to the machine. True, the machine is +sometimes controlled by the keyboard, and thought of a sort enters in +reading the figures and poking the corresponding keys, but even this +is avoidable. Machines have been made which will read typed figures +by photocells and then depress the corresponding keys; these are +combinations of photocells for scanning the type, electric circuits +for sorting the consequent variations, and relay circuits for +interpreting the result into the action of solenoids to pull the keys +down.

+ +All this complication is needed because of the clumsy way in which we +have learned to write figures. If we recorded them positionally, +simply by the configuration of a set of dots on a card, the automatic +reading mechanism would become comparatively simple. In fact, if the +dots are holes, we have the punched-card machine long ago produced by +Hollorith for the purposes of the census, and now used throughout +business. Some types of complex businesses could hardly operate +without these machines.

+ +Adding is only one operation. To perform arithmetical computation +involves also subtraction, multiplication, and division, and in +addition some method for temporary storage of results, removal from +storage for further manipulation, and recording of final results by +printing. Machines for these purposes are now of two types: keyboard +machines for accounting and the like, manually controlled for the +insertion of data, and usually automatically controlled as far as the +sequence of operations is concerned; and punched-card machines in +which separate operations are usually delegated to a series of +machines, and the cards then transferred bodily from one to another. +Both forms are very useful; but as far as complex computations are +concerned, both are still embryo.

+ +Rapid electrical counting appeared soon after the physicists found it +desirable to count cosmic rays. For their own purposes the physicists +promptly constructed thermionic-tube equipment capable of counting +electrical impulses at the rate of 100,000 a second. The advanced +arithmetical machines of the future will be electrical in nature, and +they will perform at 100 times present speeds, or more.

+ +Moreover, they will be far more versatile than present commercial +machines, so that they may readily be adapted for a wide variety of +operations. They will be controlled by a control card or film, they +will select their own data and manipulate it in accordance with the +instructions thus inserted, they will perform complex arithmetical +computations at exceedingly high speeds, and they will record results +in such form as to be readily available for distribution or for later +further manipulation. Such machines will have enormous appetites. +One of them will take instructions and data from a roomful of girls +armed with simple keyboard punches, and will deliver sheets of +computed results every few minutes. There will always be plenty of +things to compute in the detailed affairs of millions of people doing +complicated things.

+ + 4

+ +The repetitive processes of thought are not confined, however, to +matters of arithmetic and statistics. In fact, every time one +combines and records facts in accordance with established logical +processes, the creative aspect of thinking is concerned only with the +selection of the data and the process to be employed, and the +manipulation thereafter is repetitive in nature and hence a fit matter +to be relegated to the machines. Not so much has been done along +these lines, beyond the bounds of arithmetic, as might be done, +primarily because of the economics of the situation. The needs of +business, and the extensive market obviously waiting, assured the +advent of mass-produced arithmetical machines just as soon as +production methods were sufficiently advanced.

+ +With machines for advanced analysis no such situation existed; for +there was and is no extensive market; the users of advanced methods of +manipulating data are a very small part of the population. There are, +however, machines for solving differential equations - and functional +and integral equations, for that matter. There are many special +machines, such as the harmonic synthesizer which predicts the tides. +There will be many more, appearing certainly first in the hands of the +scientist and in small numbers.

+ +If scientific reasoning were limited to the logical processes of +arithmetic, we should not get far in our understanding of the physical +world. One might as well attempt to grasp the game of poker entirely +by the use of the mathematics of probability. The abacus, with its +beads strung on parallel wires, led the Arabs to positional numeration +and the concept of zero many centuries before the rest of the world; +and it was a useful tool - so useful that it still exists.

+ +It is a far cry from the abacus to the modern keyboard accounting +machine. It will be an equal step to the arithmetical machine of the +future. But even this new machine will not take the scientist where +he needs to go. Relief must be secured from laborious detailed +manipulation of higher mathematics as well, if the users of it are to +free their brains for something more than repetitive detailed +transformations in accordance with established rules. A mathematician +is not a man who can readily manipulate figures; often he cannot. He +is not even a man who can readily perform the transformation of +equations by the use of calculus. He is primarily an individual who +is skilled in the use of symbolic logic on a high plane, and +especially he is a man of intuitive judgment in the choice of the +manipulative processes he employs.

+ +All else he should be able to turn over to his mechanism, just as +confidently as he turns over the propelling of his car to the +intricate mechanism under the hood. Only then will mathematics be +practically effective in bringing the growing knowledge of atomistics +to the useful solution of the advanced problems of chemistry, +metallurgy, and biology. For this reason there will come more +machines to handle advanced mathematics for the scientist. Some of +them will be sufficiently bizarre to suit the most fastidious +connoisseur of the present artifacts of civilization.

+ + 5

+ +The scientist, however, is not the only person who manipulates data +and examines the world about him by the use of logical processes, +although he sometimes preserves this appearance by adopting into the +fold anyone who becomes logical, much in the manner in which a British +labor leader is elevated to knighthood. Whenever logical processes of +thought are employed - that is, whenever thought for a time runs along +an accepted groove - there is an opportunity for the machine. Formal +logic used to be a keen instrument in the hands of the teacher in his +trying of students' souls. It is readily possible to construct a +machine which will manipulate premises in accordance with formal +logic, simply by the clever use of relay circuits. Put a set of +premises into such a device and turn the crank, and it will readily +pass out conclusion after conclusion, all in accordance with logical +law, and with no more slips than would be expected of a keyboard +adding machine.

+ +Logic can become enormously difficult, and it would undoubtedly be +well to produce more assurance in its use. The machines for higher +analysis have usually been equation solvers. Ideas are beginning to +appear for equation transformers, which will rearrange the +relationship expressed by an equation in accordance with strict and +rather advanced logic. Progress is inhibited by the exceedingly crude +way in which mathematicians express their relationships. They employ +a symbolism which grew like Topsy and has little consistency; a +strange fact in that most logical field.

+ +A new symbolism, probably positional, must apparently precede the +reduction of mathematical transformations to machine processes. Then, +on beyond the strict logic of the mathematician, lies the application +of logic in everyday affairs. We may some day click off arguments on +a machine with the same assurance that we now enter sales on a cash +register. But the machine of logic will not look like a cash +register, even a streamlined model.

+ +So much for the manipulation of ideas and their insertion into the +record. Thus far we seem to be worse off than before - for we can +enormously extend the record; yet even in its present bulk we can +hardly consult it. This is a much larger matter than merely the +extraction of data for the purposes of scientific research; it +involves the entire process by which man profits by his inheritance of +acquired knowledge. The prime action of use is selection, and here we +are halting indeed. There may be millions of fine thoughts, and the +account of the experience on which they are based, all encased within +stone walls of acceptable architectural form; but if the scholar can +get at only one a week by diligent search, his syntheses are not +likely to keep up with the current scene.

+ +Selection, in this broad sense, is a stone adze in the hands of a +cabinetmaker. Yet, in a narrow sense and in other areas, something +has already been done mechanically on selection. The personnel +officer of a factory drops a stack of a few thousand employee cards +into a selecting machine, sets a code in accordance with an +established convention, and produces in a short time a list of all +employees who live in Trenton and know Spanish. Even such devices are +much too slow when it comes, for example, to matching a set of +fingerprints with one of five millions on file. Selection devices of +this sort will soon be speeded up from their present rate of reviewing +data at a few hundred a minute. By the use of photocells and +microfilm they will survey items at the rate of thousands a second, +and will print out duplicates of those selected.

+ +This process, however, is simple selection: it proceeds by examining +in turn every one of a large set of items, and by picking out those +which have certain specified characteristics. There is another form +of selection best illustrated by the automatic telephone exchange. +You dial a number and the machine selects and connects just one of a +million possible stations. It does not run over them all. It pays +attention only to a class given by a first digit, and so on; and thus +proceeds rapidly and almost unerringly to the selected station. It +requires a few seconds to make the selection, although the process +could be speeded up if increased speed were economically warranted. +If necessary, it could be made extremely fast by substituting +thermionic-tube switching for mechanical switching, so that the full +selection could be made in one-hundredth of a second. No one would +wish to spend the money necessary to make this change in the telephone +system, but the general idea is applicable elsewhere.

+ +Take the prosaic problem of the great department store. Every time a +charge sale is made, there are a number of things to be done.. The +inventory needs to be revised, the salesman needs to be given credit +for the sale, the general accounts need an entry, and, most important, +the customer needs to be charged. A central records device has been +developed in which much of this work is done conveniently. The +salesman places on a stand the customer's identification card, his own +card, and the card taken from the article sold - all punched cards. +When he pulls a lever, contacts are made through the holes, machinery +at a central point makes the necessary computations and entries, and +the proper receipt is printed for the salesman to pass to the +customer.

+ +But there may be ten thousand charge customers doing business with the +store, and before the full operation can be completed someone has to +select the right card and insert it at the central office. Now rapid +selection can slide just the proper card into position in an instant +or two, and return it afterward. Another difficulty occurs, however. +Someone must read a total on the card, so that the machine can add its +computed item to it. Conceivably the cards might be of the dry +photography type I have described. Existing totals could then be read +by photocell, and the new total entered by an electron beam.

+ +The cards may be in miniature, so that they occupy little space. They +must move quickly. They need not be transferred far, but merely into +position so that the photocell and recorder can operate on them. +Positional dots can enter the data. At the end of the month a machine +can readily be made to read these and to print an ordinary bill. With +tube selection, in which no mechanical parts are involved in the +switches, little time need be occupied in bringing the correct card +into use - a second should suffice for the entire operation. The +whole record on the card may be made by magnetic dots on a steel sheet +if desired, instead of dots to be observed optically, following the +scheme by which Poulsen long ago put speech on a magnetic wire. This +method has the advantage of simplicity and ease of erasure. By using +photography, however, one can arrange to project the record in +enlarged form, and at a distance by using the process common in +television equipment.

+ +One can consider rapid selection of this form, and distant projection +for other purposes. To be able to key one sheet of a million before +an operator in a second or two, with the possibility of then adding +notes thereto, is suggestive in many ways. It might even be of use in +libraries, but that is another story. At any rate, there are now some +interesting combinations possible. One might, for example, speak to a +microphone, in the manner described in connection with the +speech-controlled typewriter, and thus make his selections. It would +certainly beat the usual file clerk. +

+ 6

+ +The real heart of the matter of selection, however, goes deeper than a +lag in the adoption of mechanisms by libraries, or a lack of +development of devices for their use. Our ineptitude in getting at +the record is largely caused by the artificiality of systems of +indexing. When data of any sort are placed in storage, they are filed +alphabetically or numerically, and information is found (when it is) +by tracing it down from subclass to subclass. It can be in only one +place, unless duplicates are used; one has to have rules as to which +path will locate it, and the rules are cumbersome. Having found one +item, moreover, one has to emerge from the system and re-enter on a +new path.

+ +The human mind does not work that way. It operates by association. +With one item in its grasp, it snaps instantly to the next that is +suggested by the association of thoughts, in accordance with some +intricate web of trails carried by the cells of the brain. It has +other characteristics, of course; trails that are not frequently +followed are prone to fade, items are not fully permanent, memory is +transitory. Yet the speed of action, the intricacy of trails, the +detail of mental pictures, is awe-inspiring beyond all else in nature.

+ +Man cannot hope fully to duplicate this mental process artificially, +but he certainly ought to be able to learn from it. In minor ways he +may even improve, for his records have relative permanency. The first +idea, however, to be drawn from the analogy concerns selection. +Selection by association, rather than by indexing, may yet be +mechanized. One cannot hope thus to equal the speed and flexibility +with which the mind follows an associative trail, but it should be +possible to beat the mind decisively in regard to the permanence and +clarity of the items resurrected from storage.

+ +Consider a future device for individual use, which is a sort of +mechanized private file and library. It needs a name, and to coin +one at random, ``memex'' will do. A memex is a device in which an +individual stores all his books, records, and communications, and +which is mechanized so that it may be consulted with exceeding speed +and flexibility. It is an enlarged intimate supplement to his memory.

+ +It consists of a desk, and while it can presumably be operated from a +distance, it is primarily the piece of furniture at which he works. +On the top are slanting translucent screens, on which material can be +projected for convenient reading. There is a keyboard, and sets of +buttons and levers. Otherwise it looks like an ordinary desk.

+ +In one end is the stored material. The matter of bulk is well taken +care of by improved microfilm. Only a small part of the interior of +the memex is devoted to storage, the rest to mechanism. Yet if the +user inserted 5000 pages of material a day it would take him hundreds +of years to fill the repository, so he can be profligate and enter +material freely.

+ +Most of the memex contents are purchased on microfilm ready for +insertion. Books of all sorts, pictures, current periodicals, +newspapers, are thus obtained and dropped into place. Business +correspondence takes the same path. And there is provision for direct +entry. On the top of the memex is a transparent platen. On this are +placed longhand notes, photographs, memoranda, all sort of things. +When one is in place, the depression of a lever causes it to be +photographed onto the next blank space in a section of the memex film, +dry photography being employed.

+ +There is, of course, provision for consultation of the record by the +usual scheme of indexing. If the user wishes to consult a certain +book, he taps its code on the keyboard, and the title page of the book +promptly appears before him, projected onto one of his viewing +positions. Frequently-used codes are mnemonic, so that he seldom +consults his code book; but when he does, a single tap of a key +projects it for his use. Moreover, he has supplemental levers. On +deflecting one of these levers to the right he runs through the book +before him, each page in turn being projected at a speed which just +allows a recognizing glance at each. If he deflects it further to the +right, he steps through the book 10 pages at a time; still further at +100 pages at a time. Deflection to the left gives him the same +control backwards.

+ +A special button transfers him immediately to the first page of the +index. Any given book of his library can thus be called up and +consulted with far greater facility than if it were taken from a +shelf. As he has several projection positions, he can leave one item +in position while he calls up another. He can add marginal notes and +comments, taking advantage of one possible type of dry photography, +and it could even be arranged so that he can do this by a stylus +scheme, such as is now employed in the telautograph seen in railroad +waiting rooms, just as though he had the physical page before him.

+ + 7

+ +All this is conventional, except for the projection forward of +present-day mechanisms and gadgetry. It affords an immediate step, +however, to associative indexing, the basic idea of which is a +provision whereby any item may be caused at will to select immediately +and automatically another. This is the essential feature of the +memex. The process of tying two items together is the important +thing.

+ +When the user is building a trail, he names it, inserts the name in +his code book, and taps it out on his keyboard. Before him are the +two items to be joined, projected onto adjacent viewing positions. At +the bottom of each there are a number of blank code spaces, and a +pointer is set to indicate one of these on each item. The user taps a +single key, and the items are permanently joined. In each code space +appears the code word. Out of view, but also in the code space, is +inserted a set of dots for photocell viewing; and on each item these +dots by their positions designate the index number of the other item.

+ +Thereafter, at any time, when one of these items is in view, the other +can be instantly recalled merely by tapping a button below the +corresponding code space. Moreover, when numerous items have been +thus joined together to form a trail, they can be reviewed in turn, +rapidly or slowly, by deflecting a lever like that used for turning +the pages of a book. It is exactly as though the physical items had +been gathered together to form a new book. It is more than this, for +any item can be joined into numerous trails.

+ +The owner of the memex, let us say, is interested in the origin and +properties of the bow and arrow. Specifically he is studying why the +short Turkish bow was apparently superior to the English long bow in +the skirmishes of the Crusades. He has dozens of possibly pertinent +books and articles in his memex. First he runs through an +encyclopedia, finds an interesting but sketchy article, leaves it +projected. Next, in a history, he finds another pertinent item, and +ties the two together. Thus he goes, building a trail of many items. +Occasionally he inserts a comment of his own, either linking it into +the main trail or joining it by a side trail to a particular item. +When it becomes evident that the elastic properties of available +materials had a great deal to do with the bow, he branches off on a +side trail which takes him through textbooks on elasticity and tables +of physical constants. He inserts a page of longhand analysis of his +own. Thus he builds a trail of his interest through the maze of +materials available to him.



+ +And his trails do not fade. Several years later, his talk with a +friend turns to the queer ways in which a people resist innovations, +even of vital interest. He has an example, in the fact that the +outranged Europeans still failed to adopt the Turkish bow. In fact he +has a trail on it. A touch brings up the code book. Tapping a few +keys projects the head of the trail. A lever runs through it at will, +stopping at interesting items, going off on side excursions. It is an +interesting trail, pertinent to the discussion. So he sets a +reproducer in action, photographs the whole trail out, and passes it +to his friend for insertion in his own memex, there to be linked into +the more general trail.

+ + 8

+ +Wholly new forms of encyclopedias will appear, ready-made with a mesh +of associative trails running through them, ready to be dropped into +the memex and there amplified. The lawyer has at his touch the +associated opinions and decisions of his whole experience, and of the +experience of friends and authorities. The patent attorney has on +call the millions of issued patents, with familiar trails to every +point of his client's interest. The physician, puzzled by its +patient's reactions, strikes the trail established in studying an +earlier similar case, and runs rapidly through analogous case +histories, with side references to the classics for the pertinent +anatomy and histology. The chemist, struggling with the synthesis of +an organic compound, has all the chemical literature before him in his +laboratory, with trails following the analogies of compounds, and side +trails to their physical and chemical behavior.

+ +The historian, with a vast chronological account of a people, +parallels it with a skip trail which stops only at the salient items, +and can follow at any time contemporary trails which lead him all over +civilization at a particular epoch. There is a new profession of +trail blazers, those who find delight in the task of establishing +useful trails through the enormous mass of the common record. The +inheritance from the master becomes, not only his additions to the +world's record, but for his disciples the entire scaffolding by which +they were erected.

+ +Thus science may implement the ways in which man produces, stores, and +consults the record of the race. It might be striking to outline the +instrumentalities of the future more spectacularly, rather than to +stick closely to the methods and elements now known and undergoing +rapid development, as has been done here. Technical difficulties of +all sorts have been ignored, certainly, but also ignored are means as +yet unknown which may come any day to accelerate technical progress as +violently as did the advent of the thermionic tube. In order that the +picture may not be too commonplace, by reason of sticking to +present-day patterns, it may be well to mention one such possibility, +not to prophesy but merely to suggest, for prophecy based on extension +of the known has substance, while prophecy founded on the unknown is +only a doubly involved guess.

+ +All our steps in creating or absorbing material of the record proceed +through one of the senses - the tactile when we touch keys, the oral +when we speak or listen, the visual when we read. Is it not possible +that some day the path may be established more directly?

+ +We know that when the eye sees, all the consequent information is +transmitted to the brain by means of electrical vibrations in the +channel of the optic nerve. This is an exact analogy with the +electrical vibrations which occur in the cable of a television set: +they convey the picture from the photocells which see it to the radio +transmitter from which it is broadcast. We know further that if we +can approach that cable with the proper instruments, we do not need to +touch it; we can pick up those vibrations by electrical induction and +thus discover and reproduce the scene which is being transmitted, just +as a telephone wire may be tapped for its message.

+ +The impulses which flow in the arm nerves of a typist convey to her +fingers the translated information which reaches her eye or ear, in +order that the fingers may be caused to strike the proper keys. Might +not these currents be intercepted, either in the original form in +which information is conveyed to the brain, or in the marvelously +metamorphosed form in which they then proceed to the hand?

+ +By bone conduction we already introduce sounds into the nerve channels +of the deaf in order that they may hear. Is it not possible that we +may learn to introduce them without the present cumbersomeness of +first transforming electrical vibrations to mechanical ones, which the +human mechanism promptly transforms back to the electrical form? With +a couple of electrodes on the skull the encephalograph now produces +pen-and-ink traces which bear some relation to the electrical +phenomena going on in the brain itself. True, the record is +unintelligible, except as it points out certain gross misfunctioning +of the cerebral mechanism; but who would now place bounds on where +such a thing may lead?

+ +In the outside world, all forms of intelligence, whether of sound or +sight, have been reduced to the form of varying currents in an +electric circuit in order that they may be transmitted. Inside the +human frame exactly the same sort of process occurs. Must we always +transform to mechanical movements in order to proceed from one +electrical phenomenon to another? It is a suggestive thought, but it +hardly warrants prediction without losing touch with reality and +immediateness.

+ +Presumably man's spirit should be elevated if he can better review his +shady past and analyze more completely and objectively his present +problems. He has built a civilization so complex that he needs to +mechanize his record more fully if he is to push his experiment to its +logical conclusion and not merely become bogged down part way there by +overtaxing his limited memory. His excursion may be more enjoyable if +he can reacquire the privilege of forgetting the manifold things he +does not need to have immediately at hand, with some assurance that he +can find them again if they prove important.

+ +The applications of science have built man a well-supplied house, and +are teaching him to live healthily therein. They have enabled him to +throw masses of people against another with cruel weapons. They may +yet allow him truly to encompass the great record and to grow in the +wisdom of race experience. He may perish in conflict before he learns +to wield that record for his true good. Yet, in the application of +science to the needs and desires of man, it would seem to be a +singularly unfortunate stage at which to terminate the process, or to +lose hope as to the outcome. +
+
+ + + + \ No newline at end of file diff --git a/ilinx/black_sea.html b/ilinx/black_sea.html index aa2bb6d..2427455 100644 --- a/ilinx/black_sea.html +++ b/ilinx/black_sea.html @@ -68,6 +68,9 @@
Some day the piecing together of dissociated knowledge will open up a new reality
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + \ No newline at end of file diff --git a/ilinx/home/doorway.html b/ilinx/home/doorway.html index 49fc3b1..7d0d8c8 100644 --- a/ilinx/home/doorway.html +++ b/ilinx/home/doorway.html @@ -20,5 +20,8 @@
+ \ No newline at end of file diff --git a/ilinx/ilinx.html b/ilinx/ilinx.html new file mode 100644 index 0000000..5656ef3 --- /dev/null +++ b/ilinx/ilinx.html @@ -0,0 +1,284 @@ + + + + + @@@ilinχ + + + + + + + + + +
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+ + Vb01 + AxS + + cybSit + +
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+ Castalia + sub + + + + + + + + +
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+ + + + + \ No newline at end of file diff --git a/ilinx/katak_temple.html b/ilinx/katak_temple.html index b8894d1..9a77f8e 100644 --- a/ilinx/katak_temple.html +++ b/ilinx/katak_temple.html @@ -28,7 +28,7 @@ position: relative; left: -516px; - top: 1128px;} + top: 1084px;} .places{ position: absolute; @@ -52,11 +52,37 @@ - + + + + + + + + + + + + + + + + + + + + + + + + +
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@@ -292,7 +318,13 @@ const el = document.querySelector('body'); el.onwheel = zoom; + $("a").mouseenter(function() { + $("#sound-" + Math.ceil(Math.random() * 24))[0].play(); + }); + alert('zoom activated'); + + diff --git a/ilinx/main_l.html b/ilinx/main_l.html index cf87b02..c6de8d5 100644 --- a/ilinx/main_l.html +++ b/ilinx/main_l.html @@ -105,7 +105,7 @@
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My knowledge of the thing, and my first contact with Ilinx, began in the winter of 1986-7 with the death of my uncle Adin Fasrol - , Professor Emeritus of Experimental Semiotics in Harvard University, Massachussetts. + , Professor Emeritus of Experimental Semiotics in Harvard University, Massachussetts.
As my great-uncle's heir and executor, for he died a childless widower, I was expected to collect his belongings carried sparingly between continents. Much of the material found in his luggages, consisted in spread papers with annotations and drawings regarding the three tribes of the N'ma island.
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@@ -280,6 +306,10 @@ // var orig = $(a).html() // $(a).html(''+ orig + '') // }, 5000); + + $("a").mouseenter(function() { + $("#sound-" + Math.ceil(Math.random() * 24))[0].play(); + }); diff --git a/ilinx/media/imgs/arrow.png b/ilinx/media/imgs/arrow.png new file mode 100644 index 0000000..d7e9972 Binary files /dev/null and b/ilinx/media/imgs/arrow.png differ diff --git a/ilinx/media/imgs/fish3.png b/ilinx/media/imgs/fish3.png new file mode 100644 index 0000000..0980b6c Binary files /dev/null and b/ilinx/media/imgs/fish3.png differ diff --git a/ilinx/media/imgs/laby.png b/ilinx/media/imgs/laby.png new file mode 100644 index 0000000..c63468e Binary files /dev/null and b/ilinx/media/imgs/laby.png differ diff --git a/ilinx/media/imgs/lemur.png b/ilinx/media/imgs/lemur.png new file mode 100644 index 0000000..5258275 Binary files /dev/null and b/ilinx/media/imgs/lemur.png differ diff --git a/ilinx/media/imgs/mu.png b/ilinx/media/imgs/mu.png new file mode 100644 index 0000000..2273a59 Binary files /dev/null and b/ilinx/media/imgs/mu.png differ diff --git a/ilinx/media/imgs/spiral_w.png b/ilinx/media/imgs/spiral_w.png new file mode 100644 index 0000000..32b95b5 Binary files /dev/null and b/ilinx/media/imgs/spiral_w.png differ diff --git a/ilinx/media/sounds/Long/AxS/Background.wav b/ilinx/media/sounds/Long/AxS/Background.wav new file mode 100644 index 0000000..ee8d540 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Background.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop-Noise.wav b/ilinx/media/sounds/Long/AxS/Loop-Noise.wav new file mode 100644 index 0000000..501b2e3 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop-Noise.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop2.wav b/ilinx/media/sounds/Long/AxS/Loop2.wav new file mode 100644 index 0000000..375239f Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop2.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop3.wav b/ilinx/media/sounds/Long/AxS/Loop3.wav new file mode 100644 index 0000000..03b6618 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop3.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop4.wav b/ilinx/media/sounds/Long/AxS/Loop4.wav new file mode 100644 index 0000000..570f26f Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop4.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop5.wav b/ilinx/media/sounds/Long/AxS/Loop5.wav new file mode 100644 index 0000000..9900275 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop5.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop6.wav b/ilinx/media/sounds/Long/AxS/Loop6.wav new file mode 100644 index 0000000..6455c07 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop6.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop7.wav b/ilinx/media/sounds/Long/AxS/Loop7.wav new file mode 100644 index 0000000..65a3623 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop7.wav differ diff --git a/ilinx/media/sounds/Long/AxS/Loop8.wav b/ilinx/media/sounds/Long/AxS/Loop8.wav new file mode 100644 index 0000000..ad4f241 Binary files /dev/null and b/ilinx/media/sounds/Long/AxS/Loop8.wav differ diff --git a/ilinx/media/sounds/Long/Bubbles_grandPiano.wav b/ilinx/media/sounds/Long/Bubbles_grandPiano.wav new file mode 100644 index 0000000..46c3ab5 Binary files /dev/null and b/ilinx/media/sounds/Long/Bubbles_grandPiano.wav differ diff --git a/ilinx/media/sounds/Long/CongaTechBreakLoop.wav b/ilinx/media/sounds/Long/CongaTechBreakLoop.wav new file mode 100644 index 0000000..e7d6a04 Binary files /dev/null and b/ilinx/media/sounds/Long/CongaTechBreakLoop.wav differ diff --git a/ilinx/media/sounds/Long/Glitch-loop1.wav b/ilinx/media/sounds/Long/Glitch-loop1.wav new file mode 100644 index 0000000..c782a83 Binary files /dev/null and b/ilinx/media/sounds/Long/Glitch-loop1.wav differ diff --git a/ilinx/media/sounds/Long/Glitch-loop2.wav b/ilinx/media/sounds/Long/Glitch-loop2.wav new file mode 100644 index 0000000..8560966 Binary files /dev/null and b/ilinx/media/sounds/Long/Glitch-loop2.wav differ diff --git a/ilinx/media/sounds/Long/HouseLoop.wav b/ilinx/media/sounds/Long/HouseLoop.wav new file mode 100644 index 0000000..3a59518 Binary files /dev/null and b/ilinx/media/sounds/Long/HouseLoop.wav differ diff --git a/ilinx/media/sounds/Long/MainThemeWater.wav b/ilinx/media/sounds/Long/MainThemeWater.wav new file mode 100644 index 0000000..e867bf2 Binary files /dev/null and b/ilinx/media/sounds/Long/MainThemeWater.wav differ diff --git a/ilinx/media/sounds/Long/Onde_synth.wav b/ilinx/media/sounds/Long/Onde_synth.wav new file mode 100644 index 0000000..d18b004 Binary files /dev/null and b/ilinx/media/sounds/Long/Onde_synth.wav differ diff --git a/ilinx/scripts/ll.js b/ilinx/scripts/ll.js new file mode 100644 index 0000000..3c828b0 --- /dev/null +++ b/ilinx/scripts/ll.js @@ -0,0 +1,113 @@ + +alert('Ilinx, loose ends terminal of the templex-interface. Self-referential gyration, rapid whirling or falling movement. Posession in a state of dizziness and disorder. Infection that spreads contagiously and makes contagious the unpredictable. Play of time spiraling out of control.'); + +var mymap = L.map('mapid', { + maxZoom: 6, + minZoom: 0, + zoom: 0, + crs: L.CRS.Simple, + center: new L.LatLng(-100,300), + + }); //.setView([0, 0], 25); + + // L.tileLayer('https://api.tiles.mapbox.com/v4/{id}/{z}/{x}/{y}.png?access_token={accessToken}', { + // attribution: 'Map data © OpenStreetMap contributors, CC-BY-SA, Imagery © Mapbox', + // maxZoom: 100, + // id: 'mapbox.streets', + // accessToken: 'your.mapbox.access.token' + // }).addTo(mymap); + + L.GridLayer.DebugCoords = L.GridLayer.extend({ + createTile: function (coords) { + var tile = document.createElement('div'); + var tileSize = this.getTileSize(); + tile.setAttribute('width', '500px'); + tile.setAttribute('height', tileSize.y); + var openpop = false; + var openpop2 = false; + + // setTimeout(function () { + // done(null, tile); // Syntax is 'done(error, tile)' + // }, 500 + Math.random() * 1500); + + + if (coords.x == 0 && coords.y == 0){ + tile.innerHTML = '

'+ text2[coords.z] + '

' ; + }else{}; + + if (coords.z == 6 ){ + openpop = true; + openpop2 = true; + //}else if (coords.z == 2 ){popWindow2(); + }else{}; + + // if (coords.z == 2 ){ + // openpop2 = true; + // //}else if (coords.z == 2 ){popWindow2(); + // }else{}; + + + + + + + + + if (openpop == true) { + setTimeout(function() { + // var myWindow = window.open("", "MyText", "height=230, width=390, left=100, top=100, resizable=no, scrollbars=no, toolbar=no, menubar=no, directories=no, status=yes"); + // myWindow.document.write(''); + // myWindow.document.write('') + // myWindow.document.write('

The subject of this project is not the space exactly, but rather what there is round about or inside it. To start with, then, there is already very much: nothingness, the impalpable, the virtually immaterial; extension, the external, what is external to us, what we move about in the midst of, our ambient milieu, the void around us.

'); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1000); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1100); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1200); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1300); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1400); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1500); + setTimeout(function() {document.getElementById('bttn').innerHTML = 'Show me';}, 1600); + + + }, 1000); + + }else{}; + + if (openpop2 == true) { + setTimeout(function() { + // var myWindow = window.open("", "MyText", "height=230, width=390, left=100, top=100, resizable=no, scrollbars=no, toolbar=no, menubar=no, directories=no, status=yes"); + // myWindow.document.write(''); + // myWindow.document.write('') + // myWindow.document.write('

The subject of this project is not the space exactly, but rather what there is round about or inside it. To start with, then, there is already very much: nothingness, the impalpable, the virtually immaterial; extension, the external, what is external to us, what we move about in the midst of, our ambient milieu, the void around us.

'); + // myWindow.document.write('') + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'wild';}, 1000); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'timeless';}, 1100); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'free';}, 1200); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'tame';}, 1300); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'time-bound';}, 1400); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'tetheres';}, 1500); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'ilinx';}, 1600); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'ilinx';}, 1700); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'ilinx';}, 1800); + setTimeout(function() {document.getElementById('bttn2').innerHTML = 'ilinx';}, 1900); + }, 1000); + + }else{}; + + + + return tile; + } + }); + +$(".redirect").mouseenter(function() { + $("#sound-" + Math.ceil(Math.random() * 24))[0].play(); + }); + + function closeOpen(){ + + } + L.gridLayer.debugCoords = function(opts) { + return new L.GridLayer.DebugCoords(opts); + }; + + mymap.addLayer( L.gridLayer.debugCoords() ); \ No newline at end of file diff --git a/ilinx/scripts/popup.js b/ilinx/scripts/popup.js index d04c6de..b6962ae 100644 --- a/ilinx/scripts/popup.js +++ b/ilinx/scripts/popup.js @@ -12,6 +12,17 @@ setTimeout(function(){ open.close(); }, 120000); return false; } +function ppp2(mylink, windowname, width, height, x, y) { +if (! window.focus)return true; +var href; +if (typeof(mylink) == 'string') href=mylink; +else href=mylink.href; +var open = window.open(href, windowname, 'width=' + width + ',height='+ height + ',left=' + x + ',top=' + y + ', resizable=no, location=no, menubar=no'); +open.focus(); +// setTimeout(function(){ open.close(); }, 120000); +return false; +} + // -------------------------- POPUP RANDOM POSITION TIMEOUT SHORT var w = window.innerWidth; var h = window.innerHeight; diff --git a/ilinx/shore.html b/ilinx/shore.html index c60c11c..e4ebbf9 100644 --- a/ilinx/shore.html +++ b/ilinx/shore.html @@ -10,6 +10,33 @@ + + + + + + + + + + + + + + + + + + + + + + + + +
@@ -75,6 +102,7 @@
+ \ No newline at end of file diff --git a/ilinx/styles/style.css b/ilinx/styles/style.css new file mode 100644 index 0000000..4611533 --- /dev/null +++ b/ilinx/styles/style.css @@ -0,0 +1,505 @@ +/* ----------------------------- GLOBAL ----------------------------- */ + +body{ font-family: "Lucida Console", Monaco, monospace; +overflow: hidden; +background-color: black; +color: white;} + +p { font-size: 20px; +} + +a{ text-decoration: none; } + +/* ----------------------------- SPACE ----------------------------- */ + +#chaos { + position: relative; + width: 2500px; + height: 2000px; +} + +#space { + position: absolute; + width: 2500px; + height: 2000px; + transform:translate(-12%,-28%); + top: 0px; + left: 0px; + +/* border-style: dotted; + border-width: 2px;*/ + +/* background-image: url('../img/grid3.png'); + background-repeat: repeat;*/ +} + + /* --------------------- TIME ------------------------ */ + + + #time{ + position: absolute; + width: 600px; + height: 500px; + z-index: 101; + transform:translate(-50%,-50%); + top: 50%; + left: 50%; + } + + #ilinx{ + position: absolute; + width: 220px; + left: 190px; + top: 420px; + } + + .ilinx { + font-size: 35px; + margin-top: -2px; + float:left; + text-align: right; + width: 40px; + /*cursor: grab;*/ + } + + + + #i {cursor: url('../media/imgs/arrow.png'), auto;} + #l {cursor: url('../media/imgs/lemur.png'), auto;} + #ii {cursor: url('../media/imgs/laby.png'), auto;} + #n {cursor: url('../media/imgs/mu.png'), auto;} + #x {cursor: url('../media/imgs/fish3.png'), auto;} + + #spiral { + width: 300px; + position: absolute; + margin-top: -150px; + margin-left: -150px; + top: 250px; + left: 300px; + } + + .rotating { + -webkit-animation: rotating 3s linear infinite; + -moz-animation: rotating 3s linear infinite; + -ms-animation: rotating 3s linear infinite; + -o-animation: rotating 3s linear infinite; + animation: rotating 3s linear infinite; + } + + a.island:link{color:white;} + a.island:hover{color: red; + -webkit-animation: breathe 3s linear infinite; + -moz-animation: breathe 3s linear infinite; + -ms-animation: breathe 3s linear infinite; + -o-animation: breathe 3s linear infinite; + animation: breathe 3s linear infinite; + } + a.island:visited{color: white;} + + #lemuria { + position: absolute; + left: 68px; + top:269px; + } + + #mu { + position: absolute; + left: 189px; + top:76px; + } + + #hyperborea { + position: absolute; + left: 444px; + top: 151px; + + } + + #thule{ + position: absolute; + left: 421px; + top:322px; + } + + +/* ----------------------------- FORM ----------------------------- */ + +#form{ + position: absolute; + top: 0px; + left: 0px; + width: 100%; + height: 100%; +} + +#iper{ + position: absolute; + right: 0px; + top: 0px; +} + +#m { + position: absolute; + left: 0px; + top: 0px; +} + +#thl{ + position: absolute; + right: 0px; + bottom: 0px; +} + +#lmr{ + position: absolute; + left: 0px; + bottom: 0px; +} + +/* --------------------- PLACES ------------------------ */ + +.places{ + position: absolute; + text-align: center; + } + /* -------------- LEMURIA ---------------- */ + #port { left: 639px; top: 391px; } + #MVU { left: 278px; top: 321px; } +#death { left: 639px; top: 391px; } +#comm { left: 639px; top: 391px; } +#fas { left: 639px; top: 391px; } +#viret { left: 639px; top: 391px; } +#cann { left: 639px; top: 391px; } +#vodood { left: 639px; top: 391px; } +#echstil { left: 639px; top: 391px; } +#cecur { left: 639px; top: 391px; } +#wicht { left: 639px; top: 391px; } +#nma { left: 639px; top: 391px; } +#vysp { left: 639px; top: 391px; } +#wilja { left: 639px; top: 391px; } +#willbu { left: 639px; top: 391px; } +#usapsy { left: 639px; top: 391px; } +#vir { left: 639px; top: 391px; } +#hvir { left: 639px; top: 391px; } +#revo { left: 639px; top: 391px; } +#stilvys { left: 639px; top: 391px; } +#timewa { left: 639px; top: 391px; } +#vaultmu { left: 639px; top: 391px; } +#hostas { left: 639px; top: 391px; } +#hostat { left: 639px; top: 391px; } + + /* ---------------- MU ------------------ */ + + #Katak_temple { left: 379px; top: 504px; } + #vbush { left: 695px; top: 557px; } + #flatline { left: 442px; top: 332px; } + #cradle { left: 824px; top: 447px; } + #butwin { left: 350px; top: 673px; } + #nonsp { left: 135px; top: 463px; } + #nowhere { left: 310px; top: 94px; } + #nowHere { left: 425px; top: 897px; } + #fusserl { left: 720px; top: 306px; } + #godollo { left: 127px; top: 821px; } + + + /* ------------ HYPERBOREA -------------- */ + + #Lab_1 { left: 423px; top: 876px; } + #clippy { left: 229px; top: 327px; } + #almere { left: 33px; top: 449px; } + #some_else { left: 699px; top: 585px; } + #homeo { left: 360px; top: 545px; } + #taostat { left: 597px; top: 649px; } + #multiskop { left: 544px; top: 427px; } + #hyperv { left: 105px; top: 657px; } + #infi { left: 423px; top: 93px; } + #entp { left: 657px; top: 497px; } + #thfl { left: 381px; top: 265px; } + + /* -------------- THULE ----------------- */ + + #Castalia { left: 570px; top: 706px; } + #cremolino { left: 274px; top: 475px; } + #grams { left: 568px; top: 185px; } + #divine { left: 233px; top: 178px; } + #xx { left: 371px; top: 820px; } + #apot { left: 630px; top: 559px; } + #pheno { left: 777px; top: 404px; } + +/* ------------------ PLACES STYLE -------------------- */ +.inner{ + font-size: 15px; + background-color: yellow; + +} + +a.place:hover{letter-spacing: -4px; +color: green; +-webkit-animation: breathe 1s linear infinite; + -moz-animation: breathe 1s linear infinite; + -ms-animation: breathe 1s linear infinite; + -o-animation: breathe 1s linear infinite; + animation: breathe 1s linear infinite;} + + +#black_hole{ left: 275.5px; +top: 559.5px; transform: scale(1.5,1.5)} +.black_hole { + border-color: #00fc33 !important; + background-color: black; +} +#bh1{animation-delay: 0.33s;} +#bh2{animation-delay: 0.66s;} + + + + +.pulse{ width: 30px; +height: 30px; +position: absolute; +left: 678px; +top: 717px;} + +.pulsate { + position: absolute; + animation: pulsate 2s ease-out; + animation-iteration-count: infinite; + opacity: 0.0; + + /* you dont need the stuff below, but its what I used to create the loading circle */ + border: 3px solid red; + border-radius: 30px; + height: 18px; + width: 18px; + display: inline-block; + margin-top: 20px; + text-align: center; +} + +#pulse1{animation-delay: 0.0s;} +#pulse2{animation-delay: 0.66s;} +#pulse3{animation-delay: 1.33s;} + +/* Make the element pulse (grow large and small slowly) */ +/* Usage + .myElement { + animation: pulsate 1s ease-out; + animation-iteration-count: infinite; + opacity: 1; + } +*/ +@-webkit-keyframes pulsate { + 0% {-webkit-transform: scale(0.1, 0.1); opacity: 0.0;} + 50% {opacity: 1.0;} + 100% {-webkit-transform: scale(3, 3); opacity: 0.0;} +} + + + +/* ----------------------------- SVG ----------------------------- */ + +text { + font-family: "Lucida Console", Monaco, monospace; + color: black; + stroke: white; + stroke-width: 6; + stroke-linejoin: round; + paint-order: stroke; +} + +text.region { + stroke-width:6; + font-variant: small-caps; +} + +svg { + float: right; +} + +path { + fill: none; + stroke: white; + stroke-linecap: round; +} + +line { + fill: none; + stroke: white; + stroke-linecap: round; +} + +circle{ + stroke: blue !important; +} + +.field { + stroke: none; + fill-opacity: 1.0; +} + +.slope { + stroke-width: 1; +} + +.river { + stroke-width: 2; +} + +.coast { + stroke-width: 4; +} + +.border { + stroke-width: 5; + stroke-dasharray: 4,4; + stroke-linecap: butt; +} + + + +/* ----------------------------- ANIMATIONS ----------------------------- */ + +/* Rotate loop */ + +@-webkit-keyframes rotating /* Safari and Chrome */ { + from { + -webkit-transform: rotate(0deg); + -o-transform: rotate(0deg); + transform: rotate(0deg); + } + to { + -webkit-transform: rotate(360deg); + -o-transform: rotate(360deg); + transform: rotate(360deg); + } +} +@keyframes rotating { + from { + -ms-transform: rotate(0deg); + -moz-transform: rotate(0deg); + -webkit-transform: rotate(0deg); + -o-transform: rotate(0deg); + transform: rotate(0deg); + } + to { + -ms-transform: rotate(360deg); + -moz-transform: rotate(360deg); + -webkit-transform: rotate(360deg); + -o-transform: rotate(360deg); + transform: rotate(360deg); + } +} + +/* Breathing text */ + +@-webkit-keyframes breathe /* Safari and Chrome */ { + 0% {font-size:20px; color: white; letter-spacing: 0px; margin-left: 0px;} + 50% {font-size:21px; color: red; letter-spacing: 1px; margin-left: -6px;} + 100% {font-size:20px; color: white; letter-spacing: 0px; margin-left: 0px;} +} +@keyframes breathe { + 0% {font-size:20px; color: white; letter-spacing: 0px; margin-left: 0px;} + 50% {font-size:21px; color: red; letter-spacing: 1px; margin-left: -6px;} + 100% {font-size:20px; color: white; letter-spacing: 0px; margin-left: 0px;} +} + + +.lds-hourglass { + display: inline-block; + position: absolute; + width: 80px; + height: 80px; +} +.lds-hourglass:after { + content: " "; + display: block; + border-radius: 50%; + width: 0; + height: 0; + margin: 8px; + box-sizing: border-box; + border: 32px solid #fff; + border-color: #fff transparent #fff transparent; + animation: lds-hourglass 1.2s infinite; +} +@keyframes lds-hourglass { + 0% { + transform: rotate(0); + animation-timing-function: cubic-bezier(0.55, 0.055, 0.675, 0.19); + } + 50% { + transform: rotate(900deg); + animation-timing-function: cubic-bezier(0.215, 0.61, 0.355, 1); + } + 100% { + transform: rotate(1800deg); + } +} + + + + +html, body { + height: 100%; +} + +html { + font-size: 10px; +} + +body { + background-color: black !important; + background: radial-gradient(15px 5px at 25% 0, transparent 0%, transparent 80%, rgba(255, 255, 255, 0.04) 80%, rgba(255, 255, 255, 0.04) 99%, transparent 99%, transparent 100%), + radial-gradient(15px 5px at 75% 100%, transparent 0%, transparent 80%, rgba(255, 255, 255, 0.04) 80%, rgba(255, 255, 255, 0.04) 99%, transparent 99%, transparent 100%), + radial-gradient(10px 3px at 25% 0, transparent 0%, transparent 70%, rgba(255, 255, 255, 0.03) 70%, rgba(255, 255, 255, 0.03) 99%, transparent 99%, transparent 100%), + radial-gradient(10px 3px at 75% 100%, transparent 0%, transparent 70%, rgba(255, 255, 255, 0.03) 70%, rgba(255, 255, 255, 0.03) 99%, transparent 99%, transparent 100%), + radial-gradient(30px 8px at 25% 0, transparent 0%, transparent 55%, rgba(255, 255, 255, 0.02) 55%, rgba(255, 255, 255, 0.02) 99%, transparent 99%, transparent 100%), + radial-gradient(30px 8px at 75% 100%, transparent 0%, transparent 55%, rgba(255, 255, 255, 0.02) 55%, rgba(255, 255, 255, 0.02) 99%, transparent 99%, transparent 100%), #c4cbc3; + background-size: 60px 40px, 60px 40px, 40px 24px, 40px 24px, 120px 64px, 120px 64px; + background-position: 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%; + -webkit-animation: wave 15s linear infinite; + animation: wave 15s linear infinite; +} + +@-webkit-keyframes wave { + 0% { + background-position: 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%; + } + 20% { + background-position: 51% 48%, 51% 48%, 53% 52%, 53% 52%, 48% 47%, 48% 47%; + } + 40% { + background-position: 49% 51%, 49% 51%, 48% 51%, 48% 51%, 54% 50%, 54% 50%; + } + 60% { + background-position: 53% 54%, 53% 54%, 46% 54%, 46% 54%, 53% 46%, 53% 46%; + } + 80% { + background-position: 51% 52%, 51% 52%, 49% 49%, 49% 49%, 49% 48%, 49% 48%; + } + 0% { + background-position: 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%; + } +} + +@keyframes wave { + 0% { + background-position: 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%; + } + 20% { + background-position: 51% 48%, 51% 48%, 53% 52%, 53% 52%, 48% 47%, 48% 47%; + } + 40% { + background-position: 49% 51%, 49% 51%, 48% 51%, 48% 51%, 54% 50%, 54% 50%; + } + 60% { + background-position: 53% 54%, 53% 54%, 46% 54%, 46% 54%, 53% 46%, 53% 46%; + } + 80% { + background-position: 51% 52%, 51% 52%, 49% 49%, 49% 49%, 49% 48%, 49% 48%; + } + 0% { + background-position: 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%, 50% 50%; + } +} diff --git a/text_base/divina_invasione/main.js b/text_base/divina_invasione/main.js index 95d38ef..1cd2d81 100644 --- a/text_base/divina_invasione/main.js +++ b/text_base/divina_invasione/main.js @@ -1,5 +1,5 @@ -alert('Your realm ends here and mine begins.'); - +alert(' I found myself drifting out faster and faster, caught in a vast undertow od time...Ilinx, infection that spreads contagiously and makes contagious the unpredictable...Ilinx, self-referential gyration, Loose ends terminal of the templex-interface... Ilinx, never-perfect and ever-volatile play of time spiraling out of control...'); +// What I found beyond Ilinx was new dimension. Space and time, fiction and reality, human langauge and computer code melts togheter in a labyrinth without beginning or end. var mymap = L.map('mapid', { maxZoom: 2, minZoom: 0, @@ -29,9 +29,9 @@ var mymap = L.map('mapid', { // }, 500 + Math.random() * 1500); - // if (coords.x == 0 && coords.y == 0){ + if (coords.x == 0 && coords.y == 0){ tile.innerHTML = '

'+ text2[coords.z] + '

' ; - // }else{}; + }else{}; if (coords.z == 2 ){ openpop = true;