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zaterdag/Saturday 8 mei/May
🯁🯂🯃 🯱🯲:🯰🯰-1🯸:🯰🯰
zondag/Sunday 9 mei/May
🯁🯂🯃 🯱🯲:🯰🯰-1🯸:🯰🯰
@ https://vvvvvvaria.org/plaintext-partyline/
@ in de vensterbanken van/in the windows of Varia (Gouwstraat 3, Rotterdam)
\o/
🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉
UNSCII TESTING GROUND:
Thanks to Viznut: http://hiyviznut.fi/unscii/
╎┆┊ ╱🭽▔🭾╲ 🮲🮳 🮸🮀🮵🮶🮀🮁🮁🮀🮼🯁🯂🯃 ▵ ↑ ◬
╶─╴╺━╸ ═ ╎┆┊ ⎹ ⎸▣⎹ ⎸ ▝▛▀▜▘ 🯲🯷🯶 △ ▴ ╽ ◭⬘◮
╷┌┬┐┍┯┑╒╤╕╏┇┋ 🮷 🭼▁🭿 ⎸ ▚▌█▐▞ 🯹🯵🯱 🯰 ▁▂▃▄▅▆▇█ ◃◅◁╳▷▻▹ ▲ ←╼╋╾→ ◩⬒⬔
│├┼┤┝┿┥╞╪╡╏┇┋ ⎹╱ ╳ ╲⎸ ▗▙▄▟▖ 🯴🯳🯸 █🮆🮅🮄▀🮃🮂▔⎹ ▽ ◂◄◀🮽▶►▸╿ ⮝ ⬖◧◫◨⬗
╵└┴┘┕┷┙╘╧╛┞╀┦ ▔▔▔▔▔ 🬑🬜🬰🬪🬟 🮞🮟 ▕▉ ◞◡◯◡ ◎🭵 ▿ ▼ ↓ ⮜◈⮞ ⬕⬓◪
╻┎┰┒┏┳┓ ┭╆╈╅┮╍╍╌╌ 🬥🬦🬍🬲🬵🬹🬱🬷🬌🬓🬙 🮝🮜 🮇▊◝◠◯◉◯◡◟🭴 ▾ ⮟ ◕ ⬙ ◔
┃┠╂┨┣╋┫ ╺┽╊◙╉┾┅┅┄┄ 🬔🬡🬖🬻🬞🬭🬏🬺🬢🬒🬧 🮈▋◍ ◠◯◠◜ 🭳 ◿◺
╹┖┸┚┗┻┛ ━┵╄╇╃┶┉┉┈┈ 🬃🬤🬫🬴🬠🬋🬐🬸🬛🬗🬇 🭇🬼 ▐▌ ◌🮣🮢 🮦 🭲 ◹◸ 🭯 🮀⚞⚟🮀 🯊 ◙◛◶─◵
╓╥╖ ╔╦╗┢╁┪ ┟┱┲┧ 🬣🬯🬈🬬🬁🬂🬀🬝🬅🬮🬘 🭢🭗 🮉▍ 🮤🮪🮫🮥🮧 🭱 🭯 🭮◙🭬╭──╮⎫🮻⎧ ◘◙│◲┼◱╭◒╮
║╟╫╢🮐🮒🮐╠╬╣ ╹┃ ┡┹┺┩ 🬳🬉🬩🬕🬊🬎🬆🬨🬚🬄🬶 🭊🬿 🮊▎ 🮩🮬🮭🮨 🭰 ◢🭫◣ 🮚 │ ▢ ⎮🏎⎪ ◙◚◷┼◴│◑╋◐
╙╨╜🮔 ╚╩╝ 🯆 🯅 🯇 🮣🮢 🯉 🯈 🭥🭚 🮋▏🮮 🮡🮠 ⎸🭮🭪◆🭨🮛🮿🭬╰─🮯─╯⎬⎯⎨ ◳─◰╰◓╯
░░🮐🮑🮐▓▓██🮗🮗▤▤▥▥▦▦▩▩▧▧🮘🮘🮙🮙▨▨🮕🮕🮖🮖 🭋🭀 █▁🭻🭺🭹🭸🭷🭶▔ ◥🭩◤ 🭭 ⎮⯊⎪ ▱▰ ▭▬
░░▒🮎▒▓▓██🮗🮗▤▤▥▥▦▦▩▩▧▧🮘🮘🮙🮙▨▨🮕🮕🮖🮖 🭦🭛 🮰 🭇🬼🭭 🭊🬿 🭋🭀 ⎭⯋⎩ ▯▮ ▫◻□■◼▪⬝·
🮌█🮍 ╲╱ 🭇🬼🭈🬽🭉🬾◢◣🭇🭃🭎🬼🭈🭆🭂🭍🭑🬽🭉🭁🭌🬾🭈🭄🭏🬽🭅🭐 ◦○◯⬤◖◗ ⬫⬦⬨♢◊◇◆♦⬧⬥⬩⬪
▒🮏▒ 🭢🭗🭣🭘🭤🭙◥◤🭢🭔🭟🭗🭣🭧🭓🭞🭜🭘🭤🭒🭝🭙🭣🭕🭠🭘🭖🭡 ∘⭘●
🭢🭗 🭥🭚 🭦🭛 •
Returning to the asciiWriter :---)
https://git.vvvvvvaria.org/mb/asciiWriter
P
L
A
I
N
T
E
X
T
P
A
R
T
Y
L
I
N
E
line.py
__
/ /\
/ / \
/ / \__________
/ / \ /\
/_/ \ / /
___\ \ ___\____/_/_
/____\ \ /___________/\
\ \ \ \ \ \
\ \ \ \____ \ \
\ \ \ / /\ \ \
\ / \_\/ / / \ \
\ / / /__________\/
/ / / /
/ / / /
/________/ /\ /
\________\/\ \ /
\_\/jiri
3d X-Y matrix
a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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. . . . . . . . acab . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . acab + acab . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . acab . . . acab + . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . *
. . acab . . . . . acab + . . . . . )) . . . . . . . . . . . . . . . . . . *
. acab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. acab . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . acab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . acab . . . acab +. . . . . )) . . . . . . . . . . . . . . . . . . . *
. . . . acaba + cab + . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . acab . . . . . . )) . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . acab . . . . . . . . . )) . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . acab . . . acab . . . . . . )) . . . . . . . . . . . . *
. . . . . acab . . . . . . . acab . . . . . . )) . . . . . . . . *
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. . . . acab . . . . . . . . acab . . . . . . . )) . . . . . . *
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. . . . . . . . . . . . . . . acab . . . . . . . . . . . . )) . . . . . . . . . *
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. . . . . . . . . . . . . . . acab + acab +acab . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab + acab +acab . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab + acab +acab . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . *
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. . . . . . . . . . . . . acab . . . . . . . . acab . . . . . . )) . . . . . . *
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. . . . . . . . . . . . . . . . acab . . . acab . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . acab . . . . . . )) . . . . . . . *
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. . . . . . . . . . . . . . . . . . . . . . . acab . . acab . . . acab . . . . . .)) . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . acab . . . . . . )) . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . acab . . . . . . )) . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . acab . . . . . . )) . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab + acab . . . . . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab. acab . . . . )) . . *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . acab . . . . . . )) . . . *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )). *
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
=====================================================================================================================
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╚╝╚╝╚╝╚╝╚╝╚╝╝ ╚╚╚╝╚╝║╚╝╚╝╚╝╝
╔╔╗╔╗║╗
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╔╔╗╔╗╔╗╚╔╗════╝═╗══╗
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╚╚╗╗║║╗ ╔╔╗║║╚╝╝ ║║║
╚╚╝║║║ ╔╔╔╚═╚╝╝ ╔╔╗╔╝
║║║║╔╗╔╗╔╔╝╚╝╝ ╔╗║╚╝
║║╔═╚═╝╚╝║ ╔║╚╝╝
╚╚╝╝╚╝║╗ ╔╔╗╔╝╝
╚╚╝╔╗╗╔ ╔╗╗╗╔╗║╚╝╝
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║╚╗╗═╗ ╔╝╔═╝
╚═╚╗═╗╗ ╔╝╔╝
╚╚══╗╗ ╔╔═╝
╚╗╚╚╗╗═╔║╝
╚╚╚║╔═╝║╗
║╔═╚╝╗║║║╗
╔╚╝║║╝╚╝╚║║╗╔╗
╔═║═╝╝╝ ╚║╚╝║
╔╗║╔╝ ╚╚╗
║╚╔╝╝ ╚╚╗╔╗
╔╔╝╝╚╝ ╚╚╝╚═╗╗
╔╔╚╚╝╝ ╚╚═╝║╔╗╗═╝
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═╗╔╗╗
║║║║║
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╔╔╗╔╗╔╗╔╗╗║╔║╗╗╔╗╔╗╔╗
║║╔╚╚╝╔║╚═╗═╝╝╝╗╗╝╚╝╝
╚║╚╝╚╝╚║╝╚║╝╚║╝╚╝╚╚╝╝
║╚╗║║
║║║║║
║║║║║
║║║║║
║║║║║
║║║║║
║║║║║
║║║║║
║║║║║
╚╚╝╚╝
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░█▀█░█▀█░█▀▄░▀█▀░█░█░█░░░▀█▀░█▀█░█▀▀
░█▀▀░█▀█░█▀▄░░█░░░█░░█░░░░█░░█░█░█▀▀
░▀░░░▀░▀░▀░▀░░▀░░░▀░░▀▀▀░▀▀▀░▀░▀░▀▀▀
o
_<|>_
o o o o o o o o o o o o o__ __o/ \o__ __o o o__ __o/
<|> <|> <|> <|> <|> <|> <|> <|> <|> <|> <|> <|> /v | | |> <|> /v |
< > < > < > < > < > < > < > < > < > < > < > < > /> / \ / \ < > / \ /> / \
\o o/ \o o/ \o o/ \o o/ \o o/ \o o/ \ \o/ \o/ \o/ \ \o/
v\ /v v\ /v v\ /v v\ /v v\ /v v\ /v o | | | o |
<\/> <\/> <\/> <\/> <\/> <\/> <\__ / \ / \ / \ <\__ / \
╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗ ╔═════╗
║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║ ║
║ ╔═║═══╗ ╔═║═══╗ ║ ║ ╔═║═══╗ ╔═║═══╗ ║ ║ ╔═║═══╗ ╔═║═══╗ ║
╚═══║═╝ ╚═══║═╝ ╚═════╝ ╚═══║═╝ ╚═══║═╝ ╚═════╝ ╚═══║═╝ ╚═══║═╝ ╚═════╝
╔═════╗ ╔═║═══╗ ╔═║═══╗ ╔═════╗ ╔═║═══╗ ╔═║═══╗ ╔═════╗ ╔═║═══╗ ╔═║═══╗
║ ╚═║═══╝ ╚═║═══╝ ╔═║═══════╗ ╚═║═══╝ ╚═║═══╝ ╔═║══════╗ ╚═║═══╝ ╚═║═══╝ ║
║ ╔═══║═╗ ╔═══║═╗ ╚═══════║═╝ ╔═══║═╗ ╔═══║═╗ ╚══════║═╝ ╔═══║═╗ ╔═══║═╗ ║
╚═════╝ ╚═║═══╝ ╚═║═══╝ ╚═════╝ ╚═║═══╝ ╚═║═══╝ ╚═════╝ ╚═║═══╝ ╚═║═══╝
╔═══║═╗ ╔═══║═╗ ║ ║ ╔═══║═╗ ║ ║ ╔═══║═╗ ╔═════╗
║ ╚═║═══╝ ╚═║═══╝ ╚═════╝ ╚═║═══╝ ╚═════╝ ╚═║═══╝ ║
║ ╔═══║═╗ ║ ║ ║ ║ ╔═══║═╗ ║
╚═════╝ ╚═║═══╝ ╚═════╝ ╚═══║═╝ ╚═════╝
╔═══║═╗ ║ ║ ╔═║═══╗
║ ╚═║═══╝ ╚═══║═╝ ║
║ ║ ║ ║
║ ║ Once upon a time... on a server many, many hops ║ ║
║ ║ away, a file was cat. In the dark depths of a ║ ║
║ ║ long forgotten folder, it had been waiting for ║ ║
║ ║ the day an unsupsecting visitor would stumble ║ ║
║ ║ upon it. ║ ║
║ ║ ║ ║
║ ║ ║ ║
║ ╚════════════════════════════════════════════════════════════════╝ ║
║ ║
╚════════════════════════════════════════════════════════════════════════════╝
p------------------------------------------------p
--l--------------------------------------------l--
----a----------------------------------------a----
------i------------------------------------i------
--------n--------------------------------n--------
----------t----------------------------t----------
------------e------------------------e------------
--------------x--------------------x--------------
----------------t----------------t----------------
------------------ ------------ ------------------
--------------------p--------p--------------------
----------------------a----a----------------------
------------------------rr------------------------
-----------------------t--t-----------------------
---------------------y------y---------------------
-------------------l----------l-------------------
-----------------i--------------i-----------------
---------------n------------------n---------------
-------------e----------------------e-------------
-----------!--------------------------!-----------
--------- ------------------------------p---------
-------p----------------------------------l-------
-----l--------------------------------------a-----
---a------------------------------------------i---
-i----------------------------------------------n-
cross.py
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*Plain Text tells a story of a major morphological shift affecting cultural production,
particularly as it relates to the mechanics of reading and writing.
Were I to interrupt
a digital typist to ask, “Where do these words reside?” I would likely receive several
conflicting answers in response. In some sense, the words are on-screen, where they
can be viewed. In another sense, they are somewhere within the machine, on remote and
hermeneutically sealed surfaces: silicon chips, hard drives, flash memory cards. In yet
another sense, visible signs are still further removed from the contexts of their
production.
The word is in the wires. It spreads across servers, routers, and data
centers. What was once apparent takes on a more complex structure, stretched across
planes and temporalities.
The book—this book, any book—gains a new shape.
Digital texts
form a live lattice, a multidimensional grid, that connects a letter’s tactile response
at one’s fingertips to its optic and electromagnetic traces.*
🕮 -- Dennis Tenen, Plain Text - The Poetics of Computation
https://monoskop.org/media/text/tenen_2017_plain_text/
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
~~~
~~~
~~~
~~~
\~~
*Plain text: a file format and a frame of mind.* |
| |
| 🕮 https://monoskop.org/media/text/tenen_2017_plain_text/ 🕮 |
| |
|||||||||||||||||||D|e|n|n|i|s| |T|e|n|e|n|||||||||||||||||||||||
*I appeal to the idea of plain text in the title of this book
to signal an affinity with a particular mode of computational
meaning making.*
*Plain text stands in opposition to “fancy text,” that is,
“text representation consisting of plain text plus added
information.” In the tradition of American textual criticism,
plain text alludes to an editorial method of text transcription
that is both “faithful to the text of its source” and is
“easier to read than the original document.” Combining these
two traditions, I mean to build a case for a kind of a
systematic minimalism when it comes to our use of computers,
a minimalism that privileges access to source materials,
ensuring legibility and comprehension. I do so in contrast to
other available modes of human–computer interaction, which
instead maximize system-centric ideals such as efficiency,
speed, performance, or security.*
- - -
a systematic minimalism(?)
a matrix based X-Y minimalism(?)
a rigid minimalism(?)
an intimate minimalism(?)
- - -
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
*If there is such a thing as media theory, there should also be format theory.
(...) Format denotes a whole range of decisions that affect the look, feel,
experience, and workings of a medium. It also names a set of rules according
to which a technology can operate.*
🕮 -- Jonathan Sterne, MP3 - The Meaning of a Format
https://www.dukeupress.edu/Assets/PubMaterials/978-0-8223-5287-7_601.pdf
|||||||||||||||||||||||||||||||||||
www
http://xahlee.info/comp/unicode_index.html
http://patorjk.com/software/taag/
https://textart.sh/topic/paper
https://www.asciiart.eu/
-----------------------------------
Matrix - matriz in Spanish, matris in Tagalog, the womb
The intimate nature of an organization is visible in the way
it holds information on its spreadsheets. To hold information
womblike, allowing nutritive forces to find their way to
what is being gestated. X, Y, axes to determine sex and maybe gender
chromosomally. When an X-Y matrix is populated with information
linearly, the possibility of curvature arises, of reading data
on multiple hair-pin turns, down a column, through a row, and inter-lineally in other directions. It is this turning of attention on multiple tangent points
that allows an anti-linear (?) reading. More than anti-linear,
I would say it's hyperlinear. The greater the multiplicity
of data points to turn on, the higher the possibility of
representing fluid life forms. Am thinking about a drawing
exercise I saw today on a meme account. It was an exercise
from 1910. The instructions were to draw a cat using only angular
lines.
https://nemfrog.tumblr.com/post/634983699332694016/draw-a-cat-using-only-straight-lines-design-in
|\___/|
] [ . '
=\ /=
]===[ *
/ \
| |
/ \
\ /
_/\_/\_/\__ _/_/\_/\_/\_/\_/\_/\_/\_/\_/\_
| | | |\ \ | | | | | | | | | |
| | | | / / | | | | | | | | | |
| | | |\_\ | | | | | | | | | |
| | | | | | | | | | | | | | |
| | | | | | | | | | | | | |
https://emojiforu.com/text-art/cat-text-art/
http://www.springfrog.com/converter/ascii-text-art/gallery/cats.htm
==============================================
| https://www.etymonline.com/search?q=matrix |
==============================================
matrix (n.)
late 14c., matris, matrice, "uterus, womb," from Old French matrice
"womb, uterus" and directly from Latin mātrix (genitive mātricis)
"pregnant animal," in Late Latin "womb," also "source, origin,"
from māter (genitive mātris) "mother" (see mother (n.1)).
The many figurative and technical senses are from the notion of
"that which encloses or gives origin to" something. The general sense
of "place or medium where something is developed" is recorded by 1550s;
meaning "mould in which something is cast or shaped" is by 1620s; sense
of "embedding or enclosing mass" is by 1640s.
The mathematical sense of "a rectangular array of quantities (usually
square)" is because it is considered as a set of components into which
quantities can be set. The logical sense of "array of possible
combinations of truth-values" is attested by 1914. As a verb, in
television broadcasting, from 1951.
====================================================
| https://www.etymonline.com/search?q=administrate |
====================================================
administrate (v.)"manage or direct affairs," 1630s, from Latin
administratus, past participle of administrare "manage, control,
superintend"
prefix , which means "to, toward." For example, the word adventure
is made of the prefix ad- and the stem venture. In some words, the [d]
changes to a different sound and the letter is replaced with a
different letter.
====================================================
| https://www.etymonline.com/search?q=ministration |
====================================================
ministration (n.)
mid-14c., ministracioun, "the action of ministering or serving, the
rendering of personal service or aid," from Old French ministration or
directly from Latin ministrationem (nominative ministratio), noun of
action from past-participle stem of ministrare "to serve, attend, wait
upon," from minister "inferior, servant, priest's assistant" (see
minister (n.)).
To ministrate. To ad-ministrate. Towards (ad) a rendering of service
(ministration), towards a waiting upon.
The temporality of service is extended, thus it requires waiting.
How the act of being alert (waiting) has turned
into a profession, an act in itself (to wait upon, to be a waiter).
Add ministrations. We must add more ministrations to the way we administrate
data and people. We must add more ministrations to the way we communicate information to members of an organization.
Admin as a form of caring economics.
Spreadsheet, plaintext grid as a form of surgical care.
The quadricularity of an array, the amount of precision in a spreadsheet, is a sign of deep, abiding affection...
1)))) FOR THE
items/objects
states/subjects
displayed
2)))) FOR THE
beholder of the
object ============= \\\\\\\\\\\ NOT NECESSARILY
subject ============= /////////// ONE'S SELF
3)))) THAT DOES NOT
enter into narcissism or self-soothing ;;;;;;;
when the rectangular array
++++ displays chaotic other readings
++++ invites curvatures of chaos
++++ is able to manifest curvilinearity
C
O
U M
N U
T L
E T
R I i
L v
I r
N u
E c
ALITY
LATER IT CURVES
I
T
Y
Obsessive Compulsive behavior is more about preservation of the self
than it is about facilitating care for others... When I am in high-stress situations triggered by what is unfamiliar, I begin to arrange things in very precise formations. Travel is a stressor that leads me to arrange, to organize objects. This helps me process chaotic stimuli or too-large amounts of information that conflict with my established patterns. Though compulsive behavior may be stressful for those who cohabitate with the obsessive arranger, the obsessive arranger may yet transform mania into a brand of ministration, of care. The data-bound "deformation" of instituting order that compulsive behavior engenders could be a talent for channeling care/attention/precision into administrative axes on a spreadsheet.
When I think plain texts, I think of an administrative mindset.
Specifically related to how one prepares information for/towards further ministration.
It is what you do to data to prep it for acrobatics.
You strip the text of all its formatting.
It is what you do to refuse/trash before you can begin to recycle it.
You strip it of all layers of previous ministration.
To speak in "plain" language.
To make an idea accessible, mobile, nimble, popular.
What is plain is popular?
Vanilla.
I like vanilla ice cream.
.-"`'"-.
/ \
| |
/'---'--`\
| |
\.--.---.-./
(_.--._.-._)
\=-=-=-/
\=-=-/
\=-/
jgs \/
TBC AFTER MY SHOWER:
Hieroglyphics
Ideograms vs Phonograms
Dyslexia not as a disorder but as an inherited/memetic/diluted talent
for ideogrammatic language writing
The strange connection between writing on linear axes (plainest form of writing?)
and the construction of imagery with letterforms.
Transcribing
\\\\\\\\\\\\
c
o
n
v
e
r
s
a
t
i
o
n s
\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \
>>>> crunk
.... mb
Viznut* (thanks for these type edits :----)),
the maker of the unscii font on the mirror webpage,
also writes about perma computing
There is this anecdote about a demo party
where the whole point is to make something as expressive as possible,
within fixed limits
but then the event itself
was streamed on Twitch
Amiga was a fav computer in that scene
at some point replaced by the Microsoft microcomputer
but Amiga was nostalgia and loved
and triggered a specific sub scene,
where the challenge is to make something that fits on a floppy for example
There is a dino in the X-Y log?!?!?
Yes there is
This was a demo scene party
where the limit was
that your work fits on a receipt printer :-----D
so the restriction was 80 width!
Yesterday was fun
ik heb bijna niets interessants gedaan
haha
Can Ben's font be transformed into a figlet font??
It's a lot of work
but it would be so so nice
* http://viznut.fi/en/
http://bruxy.regnet.cz/web/linux/EN/ansi-art-sh-paint/
\ \ \ \\ \ \ \ \ \ \ \ \ \ \ \ \ \\ \ \ \ \ \ \ \ \\ \\ \\ \
Back from my shower and face mask.
Hieroglyphics can be written and read in multi-linear styles.
A word may de disposed of from left to right; from right to
left; and from top to bottom but never from bottom to top.
H I E R O G L Y P H I C S
I
E
R
O
G
L
Y
P
H
I
C
S C I H P Y L G O R E I H <<<---
|
|
S H O U L D B E ----|
w r i t t e n w i t h
l e t t e r s a l s o i n d i v i d u a l l y
r e v e r s e d
o n x - a x i s b u t t h i s p a d
w o n ' t l e t m e
The way to determine in which direction reading
should happen is an ideogrammatical (logo-graphic) labor.
Ideograms are pictographic symbols (or graphemes) that refer to an idea of a thing
but not its sound—for example, in hieroglyphics a drawing of a seated woman indexes the idea of "woman". When you see this symbol in a text, you know that the phonograms/letters that have come immediately before it spell out the given name of a woman.
Phonograms are symbols that index a sound. In hieroglyphics, a bird symbol
refers to the sah sound.
Phonograms are graphemes (drawn symbols in writing) that represent a phoneme
(sounds made in relation to language) or a combination of phonemes.
The way for the hieroglyphic reader to determine in which
direction reading should occur is to take note of where the
graphemes are looking at or pointing. If the bird in the biliteral phonogram—made up of
two distinct phonemes—sah (s3) is looking towards the left, this means
the word that this character is included in should be read beginning from the left.
Vice versa for reading that starts from the right.
Before being able to determine from which direction a single word must be
read, an un-fluent reader of hieroglyphics
might need to first take careful stock of the entire sentence, considering all the
different graphemes. Considering the text as an architectural whole in order to determine the direction in which it circulates.
(Not all characters clearly point in an X-axis, or horizontal, direction.)
This means that when writing is disposed on a surface from right to left,
individual letters must be flipped
along the x axis/180º horizontally/mirrored in order to give directional
instructions to the reader.
This is a form of reading and writing that can no longer be done with fully
phonogrammatic writing—graphic writing symbols purely as sounds, not as full ideas, which describe the majority of alphabets in popular use today, the roman alphabet to go no further. When a roman
letter is reversed it loses its meaning, to large degree.
Even to see one's name
(one of the first things one learns to write as a child, a word deeply entwined with identity/self-identification)
mirrored along the x is an experience of the
limits of our current ability to
comprehend written language.
For the hieroglyphic writer, the ability to
project
x-mirroring of words and their corresponding letters without losing a sense of
their meaning must have been to some extent natural, internalized.
--------THIS EXCERPT PENDING REVIEW
--------THIS EXCERPT PENDING REVIEW
--------THIS EXCERPT PENDING REVIEW
Furthermore, the profile of writers, understood in terms
of the design profession today, would also have included (or been equivalent to)
specializations in stonemasonry, typography, layout/art direction, sign painting,
and the technical application of vinyl lettering. There is a notable amount of students at one of the art schools where I work who manifest some form of neurodivergency—dyslexia being one of the most frequent. They are sorted into design and arts and trade-based education early in their school lives thanks to the Dutch mania for bureaucratic taxonomization of people according to their perceived function or identity. They are deemed to fit better in visual or manual realms of learning as opposed to text-heavy educational programs. They are identified as having a deficiency that is framed later on as a proclivity or knack, but it is rarely perceived by the students as the government proclaiming them as talented in a specific way. Rather, they grow up and reach my classrooms often with a sense of inferiority, believing in many cases that they are too stupid to read or write properly, and if they cannot read or write, they are outwardly and later self-determined as unintelligent. Could they simply have inherited a latent genius for multi-axial reading? Similar to how some people of indigenous background may have a latent embodied "meme" for oral tradition. If trauma can be intergenerational, can neurodivergency be an intergenerational (not necessarily genetic) talent? One that makes more sense in a multimorphic future of too-much-data, overstimulation, uncertainty, unintelligibility?
--------THIS EXCERPT PENDING REVIEW
--------THIS EXCERPT PENDING REVIEW
--------THIS EXCERPT PENDING REVIEW
*******************************************************
AGH IT'S TOO HARD TO WRITE ON THE SPECIAL PAD**********
AM GOING BACK TO THE REGULAR PAD***********************
*******************************************************
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
++++++++++++++++Interlude: Makes coffee++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
The writing surface for the hieroglyphic message was also influential
for the writer-ideographer. If one were to adorn a false doorframe in a
funerary structure with the epitaph of an esteemed noble—false doors leading nowhere were a common feature in Egyptian tombs, they symbolized a passageway to the afterlife—to do so in hierglyphics would follow a different logic to what we would expect from left-to-right or right-to-left text patterns. Today, for architectural effect in roman letters, you might lay the text following the doorframe, starting on the bottom left, going upwards, curving over the pediment at the top, snaking down again on the right side, in hieroglyphics one might situate a column of text on the left of the doorframe, to be read left-to-right, and then mirror the same text on the right side, to be read right-to-left, creating a pleasing symmetry, then crowing the pediment with a headline of sorts. The interested eye would travel over the symmetries/geometries of architecture and text together, form and meaning being constructed precisely by intertwining form and meaning-making through
writing as a material act. Words becoming concrete, in the
sense of soil, cement and water,
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++Interlude: Bikes to Varia+++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
nested into the building material
itself. Order to the ornament, ornamental order. Beyond mere
ornamentation, writing that lives on architecture as opposed to papyrus/paper, as it was difficult to inscribe, (likely) was reserved for the transmission of information for purposes official, lapidary. And for random graffiti, which is also writing that has an essential function for monumentalization of the self: to assert the existence of a single human being, to inscribe pedestrian agency.
D Y S L E X I A
D Y L S E X I A
Y D S L X E I A
If the nature of multi-axial writing involves letterforms mirrored
on the X-axis without loss of sense-construction,
...the sah bird is instantly recognizable as sah,
regardless of whether the
ideo(zoo)gram looks left or right
...if I see an actual bird looking left
or right, my brain recognizes it as such,
as a fully-formed idea-bird
exercising its ability to scan a terrain
...if i see an R looking to the left instead of
in its natural right-facing position, the R loses
all of its signification
it indexes nothing that eye can recognize
then the experience of dyslexia
...wherein written words may be
woven and inextricable from the graphic images they conjure
...(a word like butterfly, for one of my dyslexic students,
was confusing because she understood butter as butter
and fly as fly, making it difficult to ascribe a third, non-literal meaning
to the words in a composite form)
...wherein letterforms may dance and flip of
their own accord,
could be a hieroglyphic talent.
Contemporary writing surfaces/platforms/canvases, had hieroglyphics survived as a form of popular inscription, would then be formatted along an x and y axis, a matrix, a womb of woven comprehension.
Leading, kerning, these are all present in the concept of "proper" writing of hieroglyphs, not just on an X and Y but also on a Z-axis. There was a diagonal concept of spacing that dictated whether letterforms were composed in a pleasing and logical orientation. Certain words that require three logo-phonograms (characters) to be read together as single word, could be written pleasingly as:
XXXX YYYY
XXXX YYYY
XXXX YYYY
XXXX
XXXX
XXXX ZZZZ
XXXX ZZZZ
XXXX ZZZZ
which was more pleasing than:
YYYY
XXXX YYYY
XXXX YYYY
XXXX
XXXX
XXXX ZZZZ
XXXX ZZZZ
XXXX ZZZZ
So ideating a support for multi-axial forms
of writing could benefit from thinking
along the lines of spreadsheet format, wherein the kerning could
happen between the cells rather than between letters.
Plaintext writing surfaces (such as yourworldoftext.org) are precisely that:
spreadsheets. Plaintext canvas is/as grid, forcing a different form of attention
to each letter, conceiving of the act of writing as an inherently
architectural labor. Erecting pillars and beams of letters.
LLL EEEEEEEEE CCCCCCCCC XX XX EEEEEEEEEE
LLL EEEEEEEEE CCCCCCCCC XXX XXX EEEEEEEEEE
LLL CCC XXXX XXXX
LLL EEEEEEEEE CCC XXX EEEEEEEEEE
LLL EEEEEEEEE CCC XXX EEEEEEEEEE
LLL CCC XXXX XXXX
LLLLLLLLL EEEEEEEEE CCCCCCCCC XXX XXX EEEEEEEEEE
LLLLLLLLL EEEEEEEEE CCCCCCCCC XX XX EEEEEEEEEE
EEEEEEEEE XX XX CCCCCCCCC EEEEEEEEE LLL
EEEEEEEEE XXX XXX CCCCCCCCC EEEEEEEEE LLL
XXXX XXXX CCC LLL
EEEEEEEEE XXX CCC EEEEEEEEE LLL
EEEEEEEEE XXX CCC EEEEEEEEE LLL
XXXX XXXX CCC LLL
EEEEEEEEE XXX XXX CCCCCCCCC EEEEEEEEE LLLLLLLLLL
EEEEEEEEE XX XX CCCCCCCCC EEEEEEEEE LLLLLLLLLL
EEEEEEEEE XX XX CCCCCCCCC EEEEEEEEE LLL
EEEEEEEEE XXX XXX CCCCCCCCC EEEEEEEEE LLL
XXXX XXXX CCC LLL
EEEEEEEEE XXX CCC EEEEEEEEE LLL
EEEEEEEEE XXX CCC EEEEEEEEE LLL
XXXX XXXX CCC LLL
EEEEEEEEE XXX XXX CCCCCCCCC EEEEEEEEE LLLLLLLLLL
EEEEEEEEE XX XX CCCCCCCCC EEEEEEEEE LLLLLLLLLL
[!!!!!!!!!!!!!]
is
of
the
the
loss
Death
death,
clear
self
the
But
in
in
the
life
form
goes
on-as
bacteria
decay,
fungi
and
of
or
as
or
who
The
child
living.
moribund
becomes
because
self
the
of
of
is
its
but
not
itself
organism
ceases
lost.
exist
Any
to
of
its
the
beyond
because
control:
ambience
becomes
cold,
hot,
too
too
or
too
dry
for
too
long;
predator
vicious
attacks
poison
gas
or
or
in.
The
food
sets
abounds;
causes
algae,
death
and
of
in
too
lack
plants
little
light,
include
scarcity
death
But
of
or
of
Poem based on the text From Kefir to Death by Lynn Margulis
plaintext flyer making
48 width
------------------------------------------------
%_*_______________x______________________+______
___________*___________________+________________
_vv_____Vv____aaaaaa__%__RRRRR_____ii______AA___
__vv___vv____aA____aa____RR___RR___ii____AA_aa__
___vvvvv___aa______Aa____RRRRRR ___ii___AAaaaaa_
*___vvv______aaaaaa_aa___RR____RR__ii__AA_____aa
_________+_____________%_____+___-______________
___* _______________%_________ ______-______*
_____/ \____*__________
____| https://varia.zone/en/ |______________
_____\ ________________________/___________*___
_______v___________________________+___*________
________________________________________________
__Varia is a small member-based organisation ___
__in Rotterdam (Charlois), focused on___________
__everyday technology.__________________________
________________________________________________
Using the term everyday technology is for us a
way to break through the vision of old and new
technology, or smart and not so smart technology
by looking more at the appropriateness of what
each technology does in a particular situation.
We're also trying to understand whose everyday
is meant by the term, to not include one single
world view, but to acknowledge that everyone
engages with technology in a different way.
________________________________________________
+++Subscribe to our newsletter on our website!++
x * + %
+ *
^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!
------------------------------------------------
________________________________________________
% * x +
___________*_________________+__________________
_vv_____Vv___aaaaaa__%__RRRRR_____ii_____AA___+_
__vv___vv___aA____aa____RR__RR____ii____AA_aa___
___vvvvv___aa______Aa___RRRRRR____ii___AAaaaaa__
*___vvv_____aaaaaa_aa___RR____RR__ii__AA_____aa_
+ % + -
* ________________.....__ - *
____/ \ __*____________
___| https://varia.zone | *
____\__ _____________________/ ________*______
________v____________________________+_____*____
_+______________________________________________
__Varia is a kleine organisatie met 16 leden____
__in Rotterdam (Charlois) dat zich richt op_____
__alledaagse technologie.____________________%__
____________________*___________________________
Het gebruik van de term alledaagse technologie
is voor ons een manier om vectoren te doorbreken
van oude en nieuwe technologie, of slimme en
niet zo slimme technologie, door meer te kijken
naar de geschiktheid van wat welke technologie
doet in een bepaalde situatie. We vragen ons
ook af wiens alledaagse wordt bedoeld met de
term, om zo niet vanuit één enkel wereldbeeld
te bewegen, maar te erkennen dat iedereen op
een andere manier met technologie omgaat.
________________________________________________
__Schrijf je in op de Varia nieuwsbrief_________
__via onze website!__________________x__________
__________%____________________+_________*______
||||||||||||||||||||||||||||||||||||||||||||||||
------------------------------------------------
╔═╗ ║ ║ ║║ ║ ║ ║ ══║╝═══╝══ ═══║═╝ ║ ║ ╔══╗ ║ ║ ╔═══╗ ╔════ ╗ ║ ║ ║ ║ ║ ║ ╚═══╗ ║ ║ ║ ║ ║ ║ ║ ╚═══╚═══════╔══════════╝ ║ ║║ ═╝
╔═══╗ ╔═════╗ ╔══════════╗ ╔═════╗ ╔═══╗
╔═╝ ║ ║ ║ ╔═╝ ─╖╖ ╚═╗ ║ ║ ║ ╚═╗
║ ╔═║═══╗ ╔═║═══╗ ║║ ╔═║═║═╗ ╔═══║═╗ ║
╚═══║═╝ ╚═══║═╝ ║ ║ ║║ ║ ║ ╚═║═══╝ ╚═║═══╝
╔═════╗ ╔═║═══╗ ║ ║ ║║ ║ ║ ╔═══║═╗ ╔═════╗
║ ╚═║═══╝ ╚═║═║═╝ ─╜╙─ ╚═══║═╝ ╚═══║═╝ ║
║ ╔═══║═╗ ║ ║ chapter ║ ║ ╔═║═══╗ ║
╚═════╝ ╚═║═══╝ ╚══════════════╝ ╚═══║═╝ ╚═════╝
╔═══║═╗ ║ ░▀ ▀░ ║ ╔═║═══╗
║ ╚═║═══╝ ░▌ █████ ▐░ ╚═══║═╝ ║
║ ╔═════╗ ░▌▄█▀███▀█▄▐░ ╔═════╗ ║
╚═════╝ ║ ░█ o █ x █ ║ ╚═════╝
╔═══║═╗ ║ ▐██▄███▄██▌ ║ ╔═║═══╗
║ ╚═║═══╝ ████■████ ╚═══║═╝ ║
║ ║ ▐░███████░▌ ║ ║
║ (( ║ ▐░ ▌▌▌▌▌▌▌ ░▌ ║ )) ║
║ )) ║ ░▄ ▄▄▄▄▄ ▄░ ║ (( ║
║ (( ║ ▀▀▀ ║ )) ║
║ )) ║ ╔════════════════════════╗ ║ (( ║
║ (( ║ ║ [1] Enter this space ║ ║ )) ║
║ ╚════╝ [2] Run away! ╚════╝ ║
╚══════════════════════════════════════════════╝
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
[super beautiful]
'''''''''
'''''''''
pdftotext
brutally converting the one format into the other
quick access to many many words
sadie plant
FOURTH
ESTATE
•
LONDON
zeros
+
ones
DIGITAL WOMEN
+ THE NEW
TECHNOCULTURE
c o ntents
Using Xpdf with traces back to 1995,
from the open source times of Glyph & Cog, LLC.
Just some line shifting
Plain Text Party Line
n Text Party Line Plai
xt Party Line Plain Te
arty Line Plain Text P
Line Plain Text Party
e Plain Text Party Lin
ain Text Party Line Pl
Text Party Line Plain
Party Line Plain Text
ty Line Plain Text Par
ine Plain Text Party L
Plain Text Party Line
n Text Party Line Plai
xt Party Line Plain Te
arty Line Plain Text P
Line Plain Text Party
e Plain Text Party Lin
ain Text Party Line Pl
Text Party Line Plain
Party Line Plain Text
ty Line Plain Text Par
ine Plain Text Party L
Imagine it moving PaRTY!<3
Plain Text Party Line
Plain Text Party Line
e Plain Text Party Lin
ne Plain Text Party Li
ine Plain Text Party L
Line Plain Text Party
Line Plain Text Party
y Line Plain Text Part
ty Line Plain Text Par
rty Line Plain Text Pa
arty Line Plain Text P
Party Line Plain Text
Party Line Plain Text
t Party Line Plain Tex
xt Party Line Plain Te
ext Party Line Plain T
Text Party Line Plain
Text Party Line Plain
n Text Party Line Plai
in Text Party Line Pla
ain Text Party Line Pl
lain Text Party Line P
Plain Text Party Line
https://pad.vvvvvvaria.org/ptpl
╔═══╗ ╔═════╗ ╔══════════╗ ╔═════╗ ╔═══╗
╔═╝ ║ ║ ║ ╔═╝ ╓───╖╖ ╚═╗ ║ ║ ║ ╚═╗
║ ╔═║═══╗ ╔═║═══╗ ╙ ║║ ╔═║═║═╗ ╔═══║═╗ ║
╚═══║═╝ ╚═══║═╝ ║ ║ ╓───╜╜ ║ ║ ╚═║═══╝ ╚═║═══╝
╔═════╗ ╔═║═══╗ ║ ║ ║ ╓╓ ║ ║ ╔═══║═╗ ╔═════╗
║ ╚═║═══╝ ╚═║═║═╝ ╙───╜╜ ╚═══║═╝ ╚═══║═╝ ║
║ ╔═══║═╗ ║ ║ chapter ║ ║ ╔═║═══╗ ║
╚═════╝ ╚═║═══╝ ╚══════════════╝ ╚═══║═╝ ╚═════╝
╔═══║═╗ ║ '%(}░▒█████████▒░[\< ║ ╔═║═══╗
║ ╚═║═══╝ '/))░▒███████████▒░(%` ╚═══║═╝ ║
║ ╔═════╗ +&░▒█▀▀██/█████\\█▓)*' ╔═════╗ ║
╚═════╝ ║ "<<░▒▄██▄░███░▄▀▀██▓{< ║ ╚═════╝
╔═══║═╗ ║ █ ░▒░(o)░░█░░(x)░░▓ █ ║ ╔═║═══╗
║ \ ╚═║═══╝ █ ░▒███▓▓░█▓▓▒█▒▒▒▒ █ ╚═══║═╝ / ║
║ / \ ║ ▒ ▒██████<▀>██████▒ ▒ ║ / \ ║
║ \ / ║ ▒████▓█░░░█▓████▒ ║ \ / ║
║ / \ ║ ░███░░▄▄_ %███░ ║ / \ ║
║ \ / ║ ░▒███▒^^███▒░ ║ \ / ║
║ / \ ║ /-░▓██████▒░ -\\ ║ / \ ║
║ \ / ║ [::-- ---::\ ║ \ / ║
║ / \ ║ ╔════════════════════════╗ ║ / \ ║
║ \ / ║ ║ [1] Hello stranger! ║ ║ \ / ║
║ / \ ╚════╝ [2] Stop staring! ╚════╝ / \ ║
╚══════════════════════════════════════════════╝
<3!!!
THE NEW ada the the eve eve eve 100 102
103 104 109 112 114 115 121 124 125 127
131 137 140 143 144 151 152 153 154 156
sea 165 176 man 166 171 177 182 185 191
199 210 xyz 218 214 194 the eve 233 237
239 244 248 250 253 off 223 229 256 257
297 307 ble the all me. and one the and
and and and had way the for and was to,
and did not any was for the was had way
for had it, And us. The Far too for us.
was and our had all our had had our had
and and few the who did had un had and
not way our own all and for are Sun The
Art war ada met she was her its Ada she
was Ada the who had her was the the had
for "We see the her the its the 2nd 3rd
and the the the Ada she its and saw the
the hen had the En was the his had the
and the was all one had but and "in the
the the Mr. had it, put was two The the
and its his was the the had the the for
new him the the his the new the the the
the the for the was or, the far The who
had the not was now new set the En did
his new old few one our and in out the
has and the for his new was his the had
his the the but had are Ada "to you ...
3-char crossings
gambling supporting programming casting learning
beginning spelling passing pottering casting
anything micromeshing pulsing interacting weaving
running plying telling nothing nothing
nothing anything thing taking something
Everything banding woz:king lating working
thinking of"making Isolating consisting calculating
having forming reexamining superseding working
relating ·having prefacing acting unwilling
anything being writing providing reinforcing
leading supporting providing ganizing writing
retrieving cross-referencing dealing arranging retrieving
leaking seeping overflowing beginning curtailing
"criss-crossing highlighting establishing connecting overlapping
running going exercising everything weaving
inning existing becoming feeding underlying
nudging being guiding washing unfolding
implementing weaving gathering picking connecting
belonging being corresponding during Supposing
according weaving weaving being long-standing
publishing "thinking processing carrying weaving
looking offSpring nothing excepting embodying
performing expecting adding rotating backing
according bringing preceding filing having
preparing "recurring occurring recurring "eating
appearing proceeding beginning thinking seeing
constructing being distributing combining devising
drawing anything regarding engineering manufacturing
ting leading Turning Planing including
ing computing assembling weaving backing
following ..Unbuttoning having programming Having
plaiting causing making folding interlacing
thrusting hiding something concealing working
missing weaving copying faking ing
nothing nothing standing nothing making
--ing crossings
,__ __ _ _ ,
/| | | | | o | | /| / o o
| | | __ | | | | _ |__/ _ _ _|__|_ _ _ __,
| | | / \_|/ \_| |/ |/ | \ / |/ | | | | | / |/ | / |
| | |_/\__/ \_/ |_/|__/|__/ | \_/ | |_/|_/|_/|_/|_/ | |_/\_/|/
/|
\|
____ _ _ ____ _ _
/ ___| __ _ __| (_) ___ | _ \| | __ _ _ __ | |_
\___ \ / _` |/ _` | |/ _ \ | |_) | |/ _` | '_ \| __|
___) | (_| | (_| | | __/ | __/| | (_| | | | | |_
|____/ \__,_|\__,_|_|\___| |_| |_|\__,_|_| |_|\__|
I know an old Swiss woman who has knitted socks for 80 years. She is the cur-
rent matriarch of a family that has been rooted in the same Swiss canton for
countless generations. Marriages have always been made locally; family mem-
bers have rarely traveled far. Now she has 15 grown-up grandchildren. Ten of
them have settled with foreigners and several live abroad. Her family – so Swiss,
white, and Protestant for so long – now extends across three continents and
includes Hungarians, Romanians, Russians, Italians, English, Jamaicans, Koreans,
Somalis and Canadians. In one jump, this monocultural family has become
multinational, multiracial, multi-faith. There are Buddhists, Catholics, a Muslim;
African and Asian great-grandchildren. It took her a while to get used to it, this
sudden distribution of her close-knit, close-by family. But now she knits socks
for all of them, even parceling them up to send to her in-laws in Africa or the
Americas. They are good socks and make useful gifts. And so many people in this
dispersed and extended family wear them that they also seem to function as this
great-grandmother’s way of adding to their connectivity and, perhaps, knitting
them all into her own life.
||||||||||||||||||||||||||||||||||||||||
In response to bi-axial forms of writing
k n i t t i n g
e o u
e t h e r
p h n
i i i n s e r t i n g
n n n e
g g g l
l
i
n
g
...
frames, form, format, form-at
...
X-Y as movements
as navigation points
as coordinates
Embodied by the monotone
and spacial strictness
of the monospace environment.
Plain text as an intimate space.
writing ::::::::::: design
writing ::::::::::: counting
design ::::::::::: counting
design administrating
while writing
Another thing is the manual possibility to intervene.
If this is the layout, this is what you get,
what you see is what you get.