In a Datoid Wilderness

7/25/2019 In a Datoid Wilderness

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in a datoid wilderness

by philip pocock

on the occasion of the exhibition 'database

imaginary', Walter Phillips Gallery, Banff,

Canada

13.11.2004 28-01-2005

On off, up down, in out, here there, then now,

zero one - phenomenological pairs in general

digital space at root level. New media -

digitally negotiated environments multiply

these binaries to read write, close open.Phenomena become issues that distinguish

inter-reactive new media CD and DVD

Rom, motion and image sensory

environments from translocal interactive,

database-driven consumer-generated

platforms such as unmovie.net.

Inter-reactivity, archival new media, CD and

DVD ROM (ROM, an acronym for Read-

Only-Memory, akin to G.Bush Sr. 'Read-My-

Lips' quip) obviously divest new media ofinteractivity, Read dont write, burned,

closed not open. At best, responsive;

reducing humans to humanoid, sensing

bodies as light switches without qualities, in


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German, 'Bewegungsmelderkunst'. Lev

Manovichs Soft Cinema carelessly misses

this base point, coaxing into art and educationarenas, a CNN interactive model of inter-

reactivity cloaked as interactive by

algorithmically-driven, multiple-choice

design, diverting publics-at-large from

developing or understanding the radical shift

new media opens - a collaborative

construction of culture.

In the interest of both language and new

media, it is important that Lev Manovichs

book Language of New Media like hisonline text On Totalitarian Interactivity,

have disseminated discombobulated ideas to

art and education even this Database

Imaginary showneglects both language and

new media by not distinguishing between

data and datiods, databases and archives.

Readers are Dorothys who never make it far

enough through the labyrinth of OZ to find

that their role is manipulated by a wizard

pullin their strings from behind a curtain.

Algorithmic multiple-choice menus inarchival CD and DVD ROM media only

create by the sheer number of alternatives an

illusion of interactivity. In fact, like CNN

interactive or Manovichs Soft Cinema, users


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react to offers, and do not act on the media at

all. Long ago now, Negroponte characterized

such scenarios as pointlessness and click.All results are predetermined by the limited

and

Jacques Derridas 1995 text Mal dArchive

makes the point. Archive stems from Arkh,

government, the archivist, gatekeeper or

governor. Authors of CD and DVD ROM

Read-Only archive media are exactly that and

not as Manovich claims filmmaker Dwiga

Vertov or himself to be, database media

artists.

A database is obviously a base for data. A

base is a place dependent on constant fresh

input from external sources for existence or

survival. A moonbase, and Antarctic base,

even a military base is such a location. An

archive, CD or DVD ROM, neither requires

nor allows such access to the source. They

are authored by a gatekeeper and closed, not

bases.

A datum, disregarded by the Manovichians,

stems from the word given, which until

orphaned by an archivist is linked to its

dator, its giver. When a datum is


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dislocated from its source, unattached,

subjected to governance by an archivist, that

datum is an orphan, a datoid. Datoid is adigital factoid, the neologisim factoid,

coined by Norman Mailer in his 1973 book

Marylin as: "facts which have no existence

before appearing in a magazine or a

newspaper, creations which are not so much

lies as products to manipulate emotions in the

Silent Majority."

He uttered these strange words: Open,

Sesame! And forthwith appeared a widedoorway in the face of the rock. [1] With

this login crack, Ali Baba opened and entered

a cavernous cache stocked by 40 thieves.

Open house!

As allegory, Ali Babas cave neighbors

Platos. [2] Both caves depict reality as the

space of collected delusions and illusions.

However, Platos cave acts as metaphor for a

world intent on keeping its subjects in the

dark, imprisoned by a shadowy perception ofthe world outside without access to any sunlit

sources. Ali Baba has access to both

appearances and sources, perceptions of data

as currency realized in exchange with the


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outside world.

To take both allegories a step further; twovirtual caves or caches, lodged in digital data

space would have Platos cave dweller as

user, spectating and reading in a closed data

space, able to react but not interact in a

meaningful manner. Ali Baba, with open

access to and exchange between storage and

sources, is a performer, a participant in digital

data space. The Plato platform, the base for

new media Modernism, captures its users

desire for transcendence, which passivity

hopes for, with perceptions resembling dataon the surface, and doubtfully so. When the

user transcends, new media Modernism wins

the day, but only the day. In a new media

Modernist scenario, data displaying only their

surfaces are more precisely termed datoids, to

update in an age of digitally networked

environments, Norman Mailers 1973

neologism factoids: "facts which have no

existence before appearing in a magazine or a

newspaper, creations which are not so much

lies as products to manipulate emotions in theSilent Majority."

Datoids settle in digital media that are

primarily read-only. Datoids are mapped onto


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CD- and DVD ROMs (Read-Only-Memory),

published as static HTML pages, directed

with authoring tools such as the MacromediaDirector Lingo mix. To be data in a

networked environment, in post-1990 new

media, datas key quality is an inherently

open source. Digital data, were it material

pigment on a painting surface, would remain

in process at its source, a wet fluid openly

encouraging observant engagement and

participation. Experiences in participation at

source levels defines data inscribed in new

media nowadays, and that supposes reading

and writing. After all, the nomadology of newmedia presupposes that humankind is not a

spectator at heart or in mind, but a performer

interacting in a fluid environment. [3] It is

performing and not spectating and

collaborating for consumption, which

explains the survival of our strange species in

a natural world, wherein the only known

constant is eventual extinction.

Datoids identify their users with the devices

they hold mice by permitting them accessonly to the secondary, surface attributes of

the data which datoids dubiously resemble.

Just as data which cannot perform are stray

and datoid, humans who cannot realize their


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inborn performativity are inter-reactive and

humanoid in character, in touch only with

characteristics of data surfaces. Thatsearching, sorting, scanning, selecting,

showing, styling and screening datoids ought

to suffice the user as interaction is simply a

swindle. With no source in sight, no sorcery

is possible. Missing datas core attribute,

interaction acts outlandishly as a misnomer

for interreaction. The absence of open

sources chains the user to a role as

consumer/spectator/reader, connecting to and

navigating data surfaces, which systemically

contributes to the ironic conscription ofontologically open digital data space to

become the ubiquitous representative of geo

space. And in its wake, or even along with its

conscription, globalization becomes the

mindset to resist. The project of globalization

is keyed upon the closure of data sources. As

opposed to post-1990 new medias natural

proclivity toward translocality as paradigm,

globalizations socio-economic

homogenization is abetted by the datoid

mythologizing which adherents to new mediaModernism prop up. Much to the glee of

mass media moguls, their savvy mediology

engineers, and those on The Board, as Bill

Burroughs [4] called conspiring para-


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Pentagons on this planet, new media

Modernists share, albeit benignly, an

antipathy to the potential arbitrariness of anopen system, eschewing apparent chaos,

which is in fact a slowly self-organizing

neutral process, Supermodern [5] in its

pursuit of process rather than. New media

Modernist advocates as well as The Boards

most resistant fear is an open system, and a

collaborative paradigm for the unfolding of

cultural objects in a times taking, collective

procession en route to translocal tolerance via

contact and exchange. Closed source datoid

space updates the processing speed ofprogress and alienation that already exploded

once in the late Modernist Age, and from

those ashes the digital phoenix, a pterodactyl

perhaps, of data space arose around 1990,

unfolding an array of instinctively

participatory media forms enabling

consensual communication, shared

information and collaborative production

processes, a signpost still up ahead marking a

natural exit point from Modernism once and

for all.

Navigating glowing datoid surfaces of digital

space may stubbornly and spellbindingly

distract and concoct some clever, elegant and


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almost always labyrinthine illusion of

interaction. Newfangled datoid illusions

additionally complicate, howeverentertainingly, the constant denial of

exchange, which has invariably typified the

Modernist program throughout the twentieth

century, according to architect Bernard

Tschumi.[6] The Modernist paradigm

administers many quarters in new media

circles, applauded by the mass media elite,

looking to renew tired cinema and tv

strategies and tropes, by extending into

digital negotiated environments in the

twenty-first century "the founding principleof modernism in the twentieth century: the

triumphant annihilation of cultural

memory"[7], which has fueled Modernisms

legendary thirst for progress toward

Wasteland already for a century. There

persists a sizeable, stubbornly vocal and

visible set of new media Modernists

practicing and authoring an aesthetic update

in digital space of Modernisms early

program in the time-based arts of the last

century. In this regard notably, returning toRussian Formalist narrative theory [8], the

classical syuzhet dimension, plot scenarios,

dislocated from what is now a radically new

fabula or fable, is being thoroughly dissected


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by new media Modernists continuing to work

like early filmmakers with read-only

memory, albeit digital memory such as CD-and DVD ROM. Syuzhet cannot be unlinked

from its motivating fabula. When they are

divorced, syuzhet permutations are cosmetic,

Mannerist like melodrama, marking only the

surface residuals of reactions. A narratives

fabula, the syuzhets driver, is an imaginary

space belonging not to the plot of a work, but

to its human spectator/reader. In post-1990

new media that spectator/reader is

simultaneously a participant/performer,

which radically rethinks what a fabula is, andin turn, how it affects any set of associated

syuzhet scenarios which, in meaningfully

interactive space conflates plot with complot.

Formalistic new media Modernism, unrooted

in the current epoch, promotes stylistics over

actual formal concerns, which are invariably

and necessarily rooted in a present cultural

moment, not the past. Read-Only-Memory

surrogates for narrative interaction, despite

their sometimes overwhelming digital effects,

amount to feeble attempts to validate theundesirable, unthinkable negation of digital

data space as inextricable from the current

translocal network context. Like the limited

efficiency offered by multiple choice testing,


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Read-Only-Memory authoring rebuffs even a

modicum of subjective intuition, and

sidetracks the single unique attribute thattechnological invention has opened in digital

space since 1990, namely, its openness, from

playing more than a cameo role in the

procession of new media art and

experimentation.

Post-1990 new media does not only require

new technology to be advocated as new. It

requires a radically new aesthetic, and the

emergence of a new paradigm, (from

thingness to isness, perhaps), a participatoryparadigm that encourages experimental forms

of cultural production to emerge, ones that

echo in their embodiments the nucleus of the

new technologies they employ, utterly radical

forms dealing with current situations, that do

not grasp at past Modernist straws for

validation of future trends, thereby, leaving

the present tense out of the new media art

equation. Supermodern data space

development, an aesthetic corollary to post-

1990 new media technology inventionsintervenes, in concert with the intuitive

identification of and interactive engagement

with the emerging core attributes innate to

new aesthetic technologies, to cause flows of


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subjectively affective, translocally turbulent

forms at once through openly dislocated,

neutrally multi-purposed and exquisitelyprogrammed new media technologies.

New media Modernists turn away from these

signposts in contemporary thought, there are

many [9], concerning openness in media,

access to sources, participation in the

collaborative construction of culture, issues

that percolate a sometimes deserved

skepticism toward new media as representing

just another program of Modernism

throughout the contemporary art world andthe general cultural discourse that debates a

participatory translocalist paradigm over the

inevitability of a globalization which the

absence of open sources in negotiated data

space is capable of speeding along. New

media Modernists view such considerations

as being wholly nave, irrational, even

absurdly Stalinist. [10] Datoid aesthetics,

their spectators distracted by labyrinthine

technicolor displays that simulate

performance by presenting possibilities forillusionist projection onto the work, but not

into it, are guided by navigation strategies

alone through essentially closed read-only

memories masquerading at times as a


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database, when in fact, the data is not open

but burned to CD or DVD ROM. After all,

ROMs are archiving media, not databasemedia, a crucial distinction new media

Modernists either miss or choose to ignore,

much to the delight of The Board. As an

archive, CD and DVD ROM, all Read-Only-

Memory represent only the sentiment of

anarchy, which Derrida laments in his essay

Mal dArchive [12] to be diametrically

opposite to the archive. An archive can never

be unruly or an-archic, the word archive

stemming from the Greek arkh, rule, the

arkhon, the archivist, impersonating the ruler.Clever, compelling, at times transcending

works by Read-Only-Memorists dazzle their

publics into retaining the Modernist passive

posture required for the well-known illusion

to work. When the subject, in subjecting

herself to the authority of the author,

transcends, there is a pay off, but a price as

well. Should new media Modernists cultivate

more information users than participants,

information, not the public, will win the

information revolution. [11] New mediaModernists admonish any calculation of

participation with open data sources as

sinking into the arbitrary, spawning irrational

media as a result, and their public agrees,


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preferring a digital extension to the

comfortable passive paradigm mass media

has, for the already satisfied, settled theminto. Numb to or passively ignoring their

most basic intuitions as a public, they are

trained to filter, as if it were noise, the

intrinsic embodiments of post-1990 new

media, open systems, that, by design or

happenstance, open Platos Cave, naturally

encouraging shared access to sources in the

artificial sunlight of backlit screens and along

with it, the painstaking potency of self-

organizing, probabilistic participation in the

procession of cultural objects andappearances, immaterial or otherwise.

When data have lost touch with their sources,

they are like orphans, abandoned, soon

forgotten. When found somewhere along the

Infobahn wayside, or eking out a half-life on

some cyburban periphery as datoids, they

may be adopted by surrogates for their

sources and get admitted to databanks, not

bases. Enter, the archivist! A base, however,

implies an architecture that depends on inputto replenish its sources for survival, i.e. an

Antarctic base. A bank is an architecture that

secures more and more sources in order to

succeed in an environment.


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In a datoid wilderness, Unmovie.net [13]

plays with the Modernist paradigm of newmedia, its datoid objects and its inter-reacting

users, all at once, poetically. As a ubiquitous

Internet video, streaming since 10.11.2002,

24-hours-a-day, 7-days-a-week, the Net video

data adopted by Unmovies open video

database have been cut from their native

online sources and stored as anonymous

orphans, video datoids. Acting as surrogate

sources, Unmovie participants caption in

their own words the found video data found

in the Unmovie video database. Thedescriptive language attached to each video

influences its chances of being called up by

the script being improvised at the

Unmovie.net Stage, where dialogue is

scanned for emerging keywords. Should a

keyword from the Stage match a word

describing a Net video culled into and

captioned in the Unmovie video database, its

a match, and the corresponding video is cued

to a play list, soon to be displayed at

Unmovie.nets Stream online. And so itgoes unendingly. Pure time. Existence

time. Open time.

The Unmovie.net Stage as well opens the


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audience/spectator question in late Modernist

discourse to new interpretations.

Unmovie.nets guests arriving fromanywhere, therwhere, are cast on the

Unmovie Stage alongside five actor-media

personalities, in computer jargon, software or

chat bots, programmed with highly artificial

intelligence to, at stochastically controlled

intervals, avoid conversation and scoot away

to some unoccupied space on the Unmovie

Stage, or alternately to search out a dialogue

partner, then dock, talk and listen. Their

dialogue is converted from text-to-speech,

passing through auditory emotion filters, andstreamed from the Stage as mp3 sound. On

the Stage, guests interact with the bots, like a

bot. There is a difference however.

Unmovie.net Stage guests have open access

to and affect the bots brains, that is, the text

files that bots draw upon to drive their

dialogue in conversation with other bots or

online human guests. If a guest docks and

talks to a bot or with a conversing group of

bots at Unmovie.nets Stage, that bot or the

group of bots addressed by the guestinterlocutor remember what it was that guest

said, adding that address to their own brain or

brains. Each bot, opening its personality at

the source, is constantly acquiring the input


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of fresh words and syntax uttered in dialogue

exchanges by human online guests on Stage.

Fresh input means fresh output; bots drawingon guest text they have in memory in future

conversations, potentially matching the texts

annotating videos in the database, which stirs

up the playlist pot and results in an ever-fresh

Unmovie.net Stream.

Datatecture is the compound word Unmovie

fields to signify the algorithmic architecture it

embodies, one foot firmly in virtual space

and the other, more tentatively, in some

public space, a museum, festival hall, and soon. As fusion of the prefix data and the

midfix architecture, datatecture plans

procedures for Unmovies Stage and Stream

data spaces, in concert with an equally

performative, installative environment. At the

crossroads of cyberspace and geo space,

datatecture is similar in principle to

Supermodern architecture, only in reverse.

While Supermodernism focuses on an

exterior hi-tech aesthetic, datatecture focuses

on a situative aesthetic surrounding hi-techinformatics. Coined by Philip Pocock in 1996

for colleague Florian Wenz, the term

datatecture digitally updates art approaches

investigated by Beat Generation happenings


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and Situationist psychogeographics.

Datatecture oversteps screen surface borders,

intertwining real and virtual traces in thepresent tense, sculpting a zone out of the

space between medial and architectural

milieu. Datatecture feels responsible for the

space not only on screens but between

screens, so that data flows may pool but

never terminate, no digital device involved

becoming a mere terminal.

Datatectural net-works such as Unmovie

embrace ruinous motifs of dissolution and

evanescence that deal the mind-body problema virtual hand, contesting that there is

correspondingly data-matter leakage in space,

not memetic but provisional and subjective.

These datatectural proposals emerged in 1997

with the Pocock/Wenz/Noll/Huber database

cinema experiment A Description of the

Equator and Some therLands

http://www.aporee.org/equator produced by

documenta X. Implied connections between

geo and data space were then strengthened

cyber-cartographically in a collectiveprogram employing a Self-Organizing

Mapping algorithm, hacked and transposed

from its source as the brainchild of Finnish

mathematician Kohonen, by another team


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assembled by Pocock, h|u|m|b|o|t

http://www.humbot.org incorporated in sync

with a sprawling site in net_condition atZKM Karlsruhe in 1999.

Unmovie, therLands, h|u|m|b|o|t,

datatectures all, perform poetically as

dwelling connotes. Each asks ex-audiences to

step across the mass media boundary and

perform, not self-consciously as Modernism

foresaw, but interactively in a net-work

online and on the ground. Some may dare to

hypernarrate as collaborators, co-travelers if

you will, at access nodes in the data spacedisplayed, or at probabilistic moments within

the data flow participating in and @ real and

virtual public space at once. Unmovie, like

datatecture generally, acts on the premise that

in an age of information, information

becomes valid material for art. And as open

source, information enfolds anyone in its

chaosmos. Aesthetically, datatecture shares a

double, uncanny familiarity with ruins as

imaginary memory containers. Both

datatectures virtual and material componentsdecompose, with a hyperspeed unknown to

pre-digital histories. Installation materials are

generally chucked after each site-specific

show, only a few souvenirs surviving to be


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possibly evidenced in subsequent

installations. Datatecture code and its

malleable data sources are also subject torapid change, software aging and

refurbishment, burying certain views and

paths, while chancing alternates.

Unmovie exemplifies datatectures apparent

open end itself. Its nunc fluens, time-imaging

online stream greets its guests invariably in

the middle. Access is also permitted right

down datas middles, straight to and from

their sources. Unmovie, and datatecture for

that matter, are time monads, all middle.Coming and going does take place, but less

chronologically and more performatively as

existence time naturally presents its

experiences to us. Datatectural notions are

inspirations for architects to locate new time

frames for dwelling, as the informatic facades

realize in Supermodernist architecture.

Datatecture and Supermodern architecture are

corollary, recalling Ur building qualities

underplayed or unbuilt for ages. Literally

coded into the infinitive, to build, at itssource, is the German, bauen, to build, from

which ich bin and du bist, I am and you are

stem tale-tellingly, through the old German

notion of buan, to dwell. Heidegger has


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pointed out decades ago that to build is to be.

Datatecture is a space for being a digital

performer. And Unmovie is an instance ofthis. Collectively, its data streams its way past

the new media Moderns, weaving around

classical Postmodernist and Modernist

paradigms, even underneath datas accepted

definition as things given, when the Latins

took Euclids treatise titled Data at its very

word, as denoting anonymous associates of

facts, granted and admitted, to locate its

watershed at datas own data source in Vedic

Sulba Sutras, when data meant a double

entendre, binding poetic and perfunctoryqualities of space mnemonically in the

ongoing procession of data. [14]

Compiled by Philip Pocock for unmovie.net

28.09.2004.

[1] Al Baba and the 40 Thieves, The

Arabian Nights, Sir Burtons trans. 1888

http://www.arabiannights.org/index2.html .

[2] Plato, For those imprisoned in the cave

The truth would be literally nothing but the

shadows of the images. The Allegory of the


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Cave, The Republic Book VII, 2350 B.C.E.,

http://www.gutenberg.net/etext/1497 .

[3] "A group of schizophrenics who share

their illusions may get along with each other

pretty well; they are, however, utterly unfit to

react and adapt themselves to real outside

situations, and this is precisely the reason

why they are put into the asylum. Or, in terms

of Plato's simile: the prisoners in the cave do

not see the real things but only their shadows;

but if they are not only looking at the

spectacle, but have to take part in the

performance, the shadows must, in some way,be representative of the real things. It seems

to be the most serious shortcoming of classic

occidental philosophy, from Plato to

Descartes to Kant, to consider man primarily

as a spectator, as ens cogitens, while, for

biological reasons, he has essentially to be a

performer, an ens agens in the world he is

thrown in."

Ludwig von Bertalanffy, The Relativity of

Categories, in General System Theory, pub.

George Braziller, New York, 1968.

[4] For The Board - The Elite - The Initiates

- Are these the words of the all-powerful

boards and syndicates of the earth? These are


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the words of liars cowards collaborators

traitors. Liars who want time for more lies,

Cowards who can not face your "dogs" your"gooks" your "errand boys" your "human

animals" with the truth. Collaborators with

Insect People with Vegetable People. With

any people anywhere who offer you a body

forever.

William S. Burroughs, Nova Express, Grove

Press, 1964.

[5] See Hans Ibelings,

SUPERMODERNISM: Architecture in the

Age of Globalization, NAi, Rotterdam, 1998.Ibelings defines Supermodernism as a sort

of post-postmodernism, a tech-inspired

aesthetic movement that reacts against heavy-

handed, '80s-era pomo and deconstruction,

and adopts the philosophy of computer

product design. Structures appear portable

and therefore disconnected from their

surroundings. As with computers, all the

detail is inside, while exteriors are neutral

and unassuming.

Paul Spinrad, WIRED 9.07, July 2001.http://www.wired.com/wired/archive/9.07/str

eetcred.html?pg=8

[6] in Louis Martin, Interdisciplinary


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Transpositions: Bernard Tschumis

Architectural Theory, in The Anxiety of

Interdisciplinarity, de-,dis-,ex-, 1998.

[7] Benjamin Buchloh, Memory Lessons

and History Tableaux: James Colemans

Archaeology of Spectacle, in James

Coleman, OCTOBER Files, MIT Press, 2003.

[8] Victor Shklovsky, The connection

between devices of Syuzhet construction and

general stylistic devices, 1919.

[9] "What we have to develop is whatsometimes appears under the slightly

ridiculous name 'interactivity': the consumer

responds immediately when he is

interrogated, intervening to ask his own

questions, reorient the discourse, propose

new rules. But all of this is done to such a

feeble degree! It doesn't even come close to

what we would like to see, namely, for

addressees to be able to transform, in their

turn, what reaches them, the 'message,' or to

understand how it is made, and how it isproduced, in order to restart the contract on

different terms. Of course we're never going

to achieve some kind of symmetry or

reciprocity. This mirage, that the addressee


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might reappropriate what reaches him, is a

fantasy. But this is no reason to abandon the

addressee to passivity and not to militate forall forms, summary or sophisticated, of the

right to response, right of selection, right of

interception, and right of intervention. A vast

field is open here. I think, moreover, that this

development will continue inexorably, at a

rhythm that seems incalculable today. Its

taking place, it's happening, this relative

reappropriation is under way."

Jacques Derrida, Topolitics and

Teletechnology, Echographies of Television,

Polity Press, UK, 2002.

[10] In contrast, as a post-communist

subject, I cannot but see Internet as a

communal apartment of Stalin era: no

privacy, everybody spies on everybody else,

always present line for common areas such as

the toilet or the kitchen. Or I can think of it as

a giant garbage site for the information

society, with everybody dumping their used

products of intellectual labor and nobody

cleaning up. Or as a new, Mass Panopticum(which was already realized in communist

societies) -- complete transparency,

everybody can track everybody else.

ON TOTALITARIAN INTERACTIVITY


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(notes from the enemy of the people)

http://www.manovich.net/TEXT/totalitarian.h

tml 1996

[11] "Information plays on its ineffectiveness

in order to establish its power, its very power

is to be ineffective, and thereby all the more

dangerous. this is why it is necessary to go

beyond information... going beyond

information is achieved on two sides at once,

towards two questions: 'what is the source

and what is the addressee?"

Gilles Deleuze, Cinema 2: The Time-Image,

University of Minnesota Press, 1989.

[12] Jacques Derrida, Mal dArchive: Une

Impression Freudienne, Galilee, Paris, 1995.

[13] http://www.unmovie.net 2002

Unmovie is participatory hypermedia

featuring a multi-user flash/python

weblication. Bots (AI personalities) and

online participants find themselves cast as

synthespian actor-media, collaborating as

screenwriting poets on the Unmovie Stage.Presently, the botcast includes: dogen (13th

C. Zenmaster teaching); nietzsche (Friedrich

Nietzsches Beyond Good and Evil); geisha

(an androgenous cyberlovers' chat transcript),


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tark (Andre Tarkovskys Sculpting in Time);

and, dylan (Bob Dylan, his complete song

lyrics). The log of their unendingconversations acts as the Unmovie

hyperscript. While scenes crystallize on

Stage, keywords emerge and query

Unmovies Net-video database to refresh the

playlist driving the Unmovie Stream ongoing

since 10.11.2002.

[14] Here is an actual sutra of spiritual

content, as well as secular mathematical

significance.gopi bhagya madhuvrata srngiso dadhi

sandhiga khala jivita khatava gala hala

rasandara

The translation is as follows:O Lord

anointed with the yogurt of the milkmaids'

worship (Krishna), O savior of the fallen, O

master of Shiva, please protect me. At the

same time this verse directly yields the

decimal equivalent of pi divided by 10: pi/10

= 0.31415926535897932384626433832792.

by setting a numerical value of 0 through 9for Sanskrit consonant sets.

http://www.geocities.com/CapeCanaveral/73

48/math.html


28/28

(1) CD and DVD ROM can be used as

components in interactive new media.Knoppix, a Linux bootable CD, is an

example. The software commonly used in

production of CD and DVD ROMs, such as

Macromedia Director, i.e. Soft Cinema by

Lev Manovich, despite claims, is neither

interactive nor database-driven, but inter-

reactive and archival. Manovich Soft

Cinema claims only confuse and control

public, and a labyrinthian illusion of

interactivity is at root Read Only and

archival.--Posted by philippocock toPhilip Pocock - Datatectures

at 9/19/2004 11:51:57 PM
http://philippocock.blogspot.com/2004/09/in-datoid-wilderness.htmlhttp://philippocock.blogspot.com/2004/09/in-datoid-wilderness.htmlhttp://philippocock.blogspot.com/2004/09/in-datoid-wilderness.html

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In a Datoid Wilderness

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