David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

31 October 2008

diaLOGOS/HA HA : "merging interactivity and dialogism"

"Clark's Dialogue Goggles from 1968, for instance, restrict the visual field of the two participants to an eye-to-eye exchange, merging interactivity and dialogism, two of the central concerns in Clark's work."

.Diálogo: Óculos
.Lygia Clark

Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future
Simone Osthoff

"This essay discusses the artistic legacies of Brazilian artists Lygia Clark (1920-1988) and Hélio Oiticica (1937-1980), focusing on the interactive vocabularies developed from their participatory creations of the 1960s and 1970s and pointing to the practical and conceptual relevance of these vocabularies for artists working with digital communications technology. The article also explores the critical and original way Clark and Oiticica, working at the margins of capitalism, reframed modernist aesthetic issues by translating them directly into life and the body. The author concludes with an examination of the artists' interactive non-electronic works, which share common conceptual ground with the works of Australian artist Stelarc, the New York-based X-Art Foundation and British artist Roy Ascott."

(Full article ...)

This all via wood s lot

30 October 2008

Out of Bounds


Paul Ramirez Jonas and a moment of regard from the conference Out of Bounds : Art, Faith & Religiosity held earlier this year at Monash University (Faculty of Art & Design). The object of Paul's attention derives from the keynote paper by Janine Antoni: When the Object Looks Back.

(Abstracts ...)

29 October 2008

Pict-O-Screen : when your projector is ready


"Movie screen in the parlor need no longer be a problem with this new device known as the Pict-O-Screen. Concealed within the frame of a lithograph print, it can be pulled into place with a cord whenever your projector is ready. When the show is over, just tug the cord again and the screen disappears. It’s made by Radiant Mfg. Co., Chicago."
Mechanix Illustrated
March 1947

28 October 2008

projection-space : where the forecast error is the difference between the actual value and the forecast value for the corresponding period


The forecast error is the difference between the actual value and the forecast value for the corresponding period.

where E is the forecast error at period t, Y is the actual value at period t, and F is the forecast for period t.

Measures of aggregate error:

Mean Absolute Error (MAE)

Mean Absolute Percentage Error (MAPE)

Percent Mean Absolute Deviation (PMAD)

Mean Squared Error (MSE)

Root Mean Squared Error (RMSE)


27 October 2008

26 October 2008



"Andre the Giant Has a Posse is a street art campaign based on a design by Shepard Fairey created in 1986 in Charleston, South Carolina. Distributed by the skater community, the Andre stickers began showing up in nearly every big city across the U.S.A. Later, when Fairey was a student at the Rhode Island School of Design (RISD), he released his manifesto. At the time Fairey declared the campaign to be "an experiment in phenomenology." Over time the artwork has been reused in a number of ways and has become a world-wide movement, following in the footsteps of Ivan Stang's Church of the SubGenius and World War II icon "Kilroy Was Here". At the same time, Fairey's work has evolved stylistically and semantically into the OBEY Giant."

(More ...)

(Further more ...)

22 October 2008

This projection-space brought to you by

.Matrix Transport Co.

Still thinking about Capek's The Absolute at Large.

This is from 1973 :

21 October 2008



19 October 2008

BELIEVING is believing!


A BATTERY OF "SMOKERS" determine the burning time of 16 of the largest-selling brands. Trained scientists and special equipment assure scientific control. Camels (shown here under test) proved 25% slower-burning than the average of the 15 other brands tested, giving Camel smokers the equivalent of 5 extra smokes per pack!

18 October 2008

17 October 2008

'...and fear that the instrumental logic of machines conceals a void of meaning.' (5) Factory for the Absolute


"The Absolute at Large (Továrna na absolutno in the original Czech) [printed in translation as 'the Factory for the Absolute' (PT)] is a science fiction novel written by Czech author Karel Čapek in 1922.

The story centers on the invention of a reactor that can annihilate matter to produce cheap and abundant energy. Unfortunately, it produces something else as a by-product, the absolute. The absolute is a spiritual essence that according to some religious philosophies allegedly permeates all matter. It is associated with human religious experience, as the unsuspecting humanity is to find out all too soon in the story. The widespread adoption of the reactors cause an enormous outpouring of pure absolute into the world. This leads to an outburst of religious and nationalist fervor, causing the greatest, most global war in history... "

( More ... )

16 October 2008

'...and fear that the instrumental logic of machines conceals a void of meaning.' (4) Laughing man with enso


Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel
As the images unwind
Like the circles that you find
In the windmills of your mind
- Neil Diamond

15 October 2008

12 October 2008

'...and fear that the instrumental logic of machines conceals a void of meaning.'

"The absence of the figure is conspicuous in Klippel's works. Looked at in this way, one can see some of the assemblages deliberately trying to avoid anything even indirectly anthropomorphic."

(More ... )

11 October 2008

The Economy as projection-$pace : regarding certain views and 'the value of value'


"Firestorm sweeps world stockmarkets" : the headline on the front page of today's (Melbourne) Age.

Samuel Pepys diary entry, September 2 1666
"Having staid, and in an hour's time seen the fire: rage every way, and nobody, to my sight, endeavouring to quench it, but to remove their goods, and leave all to the fire, and having seen it get as far as the Steele-yard, and the wind mighty high and driving it into the City; and every thing, after so long a drought, proving combustible, even the very stones of churches, and among other things the poor steeple by which pretty Mrs.--------lives, and whereof my old school-fellow Elborough is parson, taken fire in the very top, an there burned till it fell down: I to White Hall (with a gentleman with me who desired to go off from the Tower, to see the fire, in my boat) ; to White Hall, and there up to the Kings closett in the Chappell, where people come about me, and did give them an account dismayed them all, and word was carried in to the King.

So I was called for, and did tell the King and Duke of Yorke what I saw, and that unless his Majesty did command houses to be pulled down nothing could stop the fire . . . "

(More ... )

'Rudd's View on the Economy'
On ABC.Radio National's current affairs program P.M. a few nights back Mark Colvin introduced the item 'Rudd's view on the economy' with this progression of definitions :
"A crash happens when markets realise that assets are seriously overvalued, and brings them back down to earth.

A panic is a step on from that when markets no longer have any benchmark for what assets are worth, so they stop lending against them.
They no longer know the value of value and that means a period of chaos when no-one knows where the bottom of the slope is."

(More ... )

"Get Me My Mighty Bucket, someone!"