THREADONISM

YARN BOMB'S

2011-11-03T05:45:00.000-07:00

'Yarn bombing': Woman bundles downtown Bemidji tree in sweater

LAURIE SWENSON Bemidji Pioneer

BEMIDJI, Minn. — Passersby on Third Street in downtown Bemidji have been noticing a tree sporting a multicolored crocheted sweater that looks just right for the dropping temperatures of fall.
That is the work of Jen Pomp, co-owner of the Yellow Umbrella gift shop across the street from the flower bed she tends. She crocheted the tree sweater in a two-week period and installed it in sections in late June.
"I made it just to put smiles on people's faces and bring some conversation and a touch of handmade on the street," Pomp said.
She had read online articles on "yarn bombing" or "guerrilla knitting" occurring in large cities to bring color and beauty to urban landscapes of concrete and steels. She was immediately inspired.
"People will take city things and put a handmade fiber art touch," she said. "A lot of bigger cities will even organize it," having fiber artists create, for example, official parking meter covers.
The phenomenon started out like graffiti, Pomp said, adding that people would look at the knitted or crocheted item, smile, and wonder where it came from.
"Yarn bombs" have been found brightening up a railing at a mall in Duluth, hugging Minneapolis sign posts, covering the "Charging Bull" sculpture in New York, as a vest for the "Rocky" sculpture in Philadelphia, filling sidewalk cracks in Paris and adorning bike racks in Melbourne. Toyota commissioned a sweater for a Prius. June 11 was International Yarn Bombing Day.
Pomp was asked in mid-June if she would be interested in tending the flower bed through the Bemidji Downtown Development Association's Adopt-a-Garden program.
"I love to garden and have been so busy with the store that I haven't been able to do much of it at home lately," she wrote in the Yellow Umbrella blog on June 16. "So what's better than a mini garden across the street? It will be nice to get some fresh air and play in the dirty throughout the week while I'm 'working."
After she took over the spot, she wondered, "How do I make this garden cool and different?"
"I found myself wanting to do something really special in this space that would sort of reflect the fun crafty creative feel that is Yellow Umbrella," she wrote in the blog. "And then it hit me . MAKE A TREE SWEATER!"
After she got the idea, she called Linda Autrey, the volunteer coordinator of the Adopt-a-Garden program.
Pomp was nervous, she said: "Is the going to think I'm nuts?"
But Autrey encouraged her to go for it.
"I certainly know it wouldn't hurt the tree and it would add even more art to our streets," Autrey said. "I thought it was really neat."
Autrey has 43 groups of people who plant, weed and water the gardens all summer long. She has been coordinating the program for 12 years.
Pomp chose a yellow, orange, cream, pink and lemongrass green color scheme, using Lion Brand Thick & Quick yarn that is 80 percent acrylic and 20 percent wool and will hold up well against Minnesota weather.
She crocheted the tree sweater in sections - two sections for the trunk (above and below the branches) and sections for the four branches emerging from the trunk. She measured the diameter of each section, leaving a little room for growth, and, when finished, placed the sections on the tree and closed up the seams.
Occasionally, she would go out and do fittings, and people would ask what she was doing. Even more questions came while she was doing the seams.
Pomp noted that some people knit or crotchet right on the piece they're covering, but that takes considerable time on the site.
She said she is enjoying seeing pictures of the tree sweater on other people's Facebook pages. Pomp also likes that she can see the tree from the store, where she brings her 1-month-old daughter, Millie.
Pomp would love to see more yarn bombing in Bemidji, she said, adding that she would be glad to organize an outing where people could, for example, put sleeves on trees in Library Park or do a project during Art in the Park.
"I would like to be part of it," she said. "it would be so striking and so fun."
Pomp owns Yellow Umbrella with her sister-in-law. They share the same name, but her sister-in-law goes by Jennifer. Jen is married to Jon; Jennifer is married to his brother Andy.
Yellow Umbrella opened Dec. 5, 2009, in Nymore and moved to its current location on Third Street on June 3. The Nymore location is now Red Umbrella, an upscale thrift store. Pomp said Yellow Umbrella sells the yarn she used for the tree sweater. She and her sister-in-law use it to make cowls and hats for the store.
To see how the tree sweater came together, visit the Yellow Umbrella blog at http://yellowumbrellashop.blogspot.com and look in the June archives for three blog posts titled "Getting Creative."

--LAURIE SWENSON Bemidji Pioneer
http://www.therepublic.com/view/story/b32e8d557d1a442ea2bf9f360420c4f7/MN--Exchange-Yarn-Bombing/

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2011-11-03T05:42:00.000-07:00

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Threadonism Photoshoot

Posted by admin - September 14th, 2011

Photos by Diana Mijnhout (www.dianamijnhout.com).

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Meet Eva Sativa

Posted by admin - July 17th, 2011

See more pictures of Eva Sativa

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The Pole Dancer

Posted by admin - June 27th, 2011

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Welcome to Circus Threadonism!

Posted by admin - May 19th, 2011

Watch the video The making of Nancy.

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Doctor Marshmallow Cubicle Feb 5th 2011 pt 2

2011-02-07T00:18:00.000-08:00

Sun Ra - Pink Elephants

2011-01-27T05:17:00.000-08:00

The Unfinished Project: Exploration, Learning and Networks.

2010-12-11T06:00:00.000-08:00

Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing

CHU CUBE v1.0

The Unfinished Project:

Exploration, Learning and Networks

Part One: The Educational Field

We live today in the age of networks. Having grown from
nothing just fifteen years ago, the network has become one of
the principal influences in our lives. We trust the network; we
depend on the network; we use the network to make ourselves
more effective. This state of affairs did not develop gradually;
rather, we have passed through a series of unpredicted and
non-linear shifts in the fabric of culture.

The first of these shifts was coincident with the birth of the
Web itself, back in the mid-1990s. From its earliest days the
Web was alluring because it represented all things to all
people: it could serve as both resource and repository for
anything that might interest us, a platform for whatever we
might choose to say. The truth of those earliest days is that
we didn’t really know what we wanted to say; the stereotype
of the page where one went on long and lovingly about one’s
pussy carries an echo of that search for meaning. The lights
were on, but nobody was home.

Drawing the curtain on this more-or-less vapid era of the
Web, the second shift began with the collapse of the dot-com
bubble in the early 2000s. The undergrowth cleared away,
people could once again focus on the why of the Web. This
was when the Web came into its own as an interactive
medium. The Web could have been an interactive medium
from day one – the technology hadn’t changed one bit – but it
took time for people to map out the evolving relationship
between user and experience. The Web, we realized, is not a
page to read, but rather, a space for exploration, connection
and sharing.

This is when things start to get interesting, when ideas like
Wikipedia begin to emerge. Wikipedia is not a technology, at
least, it’s not a specific technology. Wikis have been around
since 1995, nearly as old as the Web itself. Databases are
older than the Web, too. So what is new about Wikipedia?
Simply this: the idea of sharing. Wikipedia invites us all to
share from our expertise, for the benefit of one another. It is
an agreement to share what we know to collectively improve
our capability. If you strip away all of the technology, and all
of the hype – both positive and negative –from Wikipedia,
what you’re left with is this agreement to share. In the decade
since Wikipedia’s launch we’ve learned to share across a
broad range of domains. This sharing supported by
technology is a new thing, and dramatically increases the
allure of the network. What was merely very interesting back
in 1995 became almost overpowering in the years since the
turn of the millennium. It has consistently become harder
and harder to imagine a life without the network, because the
network provides so much usefulness, and so much utility.

The final shift occurred in 2007, as Facebook introduced F8,
its plug-in architecture which opened its design – and its data
– to outside developers. Facebook exploded from a few
million users to over four hundred million: the third largest
nation in the world. Social networks are significant because
they harness and amplify our innate human desire and
capability to connect with one another. We constantly look to
our social networks – that is, our real-world networks – to
remind us who we are, where we are, and what we’re doing.
These social network provide our ontological grounding.
When translated into cyberspace, these social networks can
become almost impossibly potent – which is why, when
they’re used to bully or harass someone, they can lead to such
disastrous results. It becomes almost too easy, and we
become almost too powerful.

A lot of what we’ll see in this decade is an assessment of what
we choose to do with our new-found abilities. We can use
these social networks to transmit pornographic pictures of
one another back and forth at such frequency and density that
we simply numb ourselves into a kind of fleshy hypnosis.
That is one possible direction for the future. Or, we could
decide that we want something different for ourselves,
something altogether more substantial and meaningful. But
in order to get that sort of clarity, we need to be very clear on
what we want – both direction and outcome. At this point we
are simply playing around – with a loaded weapon – hoping
that it doesn’t accidentally go off.

Of course it does; someone sets up a Facebook page to
memorialize a murdered eight year-old, but leaves the door
open to all comers (believing, unrealistically, that others will
share their desire to mourn together), only to see the
overflowing sewage of the Internet spill bile and hatred and
psychopathology onto a Web page. This happens again and
again; it happened several times in one week in February. We
are not learning the lesson we are meant to learn. We are
missing something. Partly this is because it is all so new, but
partly it is because we do not know what our own intentions
are. Without that, without a stated goal, we can not winnow
the wheat from the chaff. We will forget to close the windows
and lock the doors. We will amuse ourselves to death.
I mention this because, as educators, it is up to all of us to act
as forces for the positive moral good of the culture as a whole.
Cultural values are transmitted by educators; and while
parents may be a bigger influence, teachers have their role to
play. Parents are simply overwhelmed by all of this novelty –
the Web wasn’t around when they were children, and social
networks weren’t around even five years ago. So, right at this
moment in time, educators get to be the adult cultural
vanguard, the vital mentoring center.

If we had to do this ourselves, alone, as individuals – or even
as individual institutions – the project would almost certainly
fail. After all, how could we hope to balance all of the
seductions ‘out there’ against the sense which needs to be
taught ‘in here’? We would simply be overwhelmed – our
current condition. Fortunately, we are as well connected, at
least in potential, as any of our students. We have access to
better resources. And we have more experience, which allows
us to put those resources to work. In short, we are far better
placed to make use of social media than our charges, even if
they seem native to the medium while we profess to be
immigrants.

One thing that has changed, because of the second shift, the
trend toward sharing, is that educational resources are
available now as never before. Wikipedia led the way, but it is
just small island in a much large sea of content, provided by
individuals and organizations throughout the world. iTunes
University, YouTube University, the numberless podcasts and
blogs that have sprung up from experts on every subject from
macroeconomics to the history of Mesoamerica – all of it
searchable by Google, all of it instantaneously accessible –
every one of these points to the fact that we have clearly
entered a new era, where we are surrounded by and saturated
with an ‘educational field’ of sorts. Whatever you need to
know, you’re soaking in it.

This educational field is brand-new. No one has made
systematic use of it, no teacher, no institution, no
administration. But that doesn’t lessen its impact. We all
consult Wikipedia when we have some trivial question to
answer; that behavior is the archetype for where education is
headed in the 21st century – real-time answers on-demand,
drawn from the educational field.

Paired with the educational field is the ability for educators to
establish strong social connections – not just with other
educators, but laterally, through the student to the parents,
through the parents to the community, and so on, so that the
educator becomes ineluctably embedded in a web of
relationships which define, shape and determine the
pedagogical relationship. Educators have barely begun to
make use of the social networking tools on offer; just to have a
teacher ‘friend’ a student in Facebook is, to some eyes, a cause
for concern – what could possibly be served by that
relationship, one which subverts the neat hierarchy of the 19th century classroom?

The relationship is the essence of the classroom, that which
remains when all the other trivia of pedagogy are stripped
away. The relationship between the teacher and the student
is at the core of the magical moment when knowledge is
transmitted between the generations. We now have the
greatest tool ever created by the hand of man to reinforce and
strengthen that relationship. And we need to use it, or else we
will all sink beneath a rising tide of noise and filth and
distraction.
But how?

Writing Hands by CHU

Part Two: The Unfinished Project

The roots of today’s talk lie in a public conversation I had with
Dr. Evan Arthur, who manages the Digital Education
Revolution Group within the Department of Education,
Employment and Workplace Relations. As part of this
conversation, I asked him about educational styles, and, in
particular, Constructivism. As conceived by Jean Piaget and
his successors across the 20th century, Constructivism states
that the child learns through play – or rather, through
repeated interactions with the world. Schema are created by
the child, put to the test, where they either succeed or fail.
Failed schema are revised and re-tested, while successful
schema are incorporated into ever-more-comprehensive
schema. Through many years of research we know that we
learn the physics of the real world through a constant process
of experimentation. Every time a toddler dumps a cup of
juice all over himself, he’s actually conducting an
investigation into the nature of the real.

The basic tenets of Constructivism are not in dispute,
although many educators have consistently resisted the
underlying idea of Constructivism – that it is the child who
determines the direction of learning. This conflicts directly
with the top-down teacher-to-student model of education
which we are all intimate familiar with, which has determined
the nature of pedagogy and even the architecture of our
classrooms. This is the grand battle between play and work;
between ludic exploration and the hard grind of assimilating
the skills that situate us within an ever-more-complex culture.
At the moment, this trench warfare has frozen us in a
stalemate located, for the most part, between year two and
year three. In the first two years education has a strong ludic
component, and students are encouraged to explore. But in
year three the process becomes routinized, formalized and
very strict. Certainly, eight-year-olds are better able to
understand restrictions than six-year-olds. They’re better at
following the rules, at colouring within the lines. But it seems
as though we’ve taken advantage of the fact that an older child
is a more compliant one. It is true that as we advance in
years, our ludic nature becomes tempered by an adult’s
sensibility. But humans retain the urge to play throughout
their lives – to a greater degree than any other species we
know of. It could very well be that our ability to learn is
intimately tied to our desire to play.

If we are prepared to swallow this bitter pill, and acknowledge
that play is an essential part of the learning process, we have
no choice but to follow this idea wherever it leads us. Which
leads me back to my conversation with Evan Arthur. I asked
him about the necessity of play, and he framed his response
by talking about “The Unfinished Constructivist Project”. It is
a revolution trapped in mid-stride, a revelation that,
somehow, hasn’t penetrated all the way through our culture.
We still insist that instruction is the preferred mechanism for
education, when we have ample evidence to suggest this
simply isn’t true. Let me be clear: instruction is not the same
thing as guidance. I am not suggesting that children simply
do as they please. The more freedom they have, the more
need they have for a strong, stabilizing force to guide them as
they explore. This may be the significant (if mostly hidden)
objection to the Constructivist project: it is simply too
expensive. The human resources required to give each child
their own mentor as they work their way through the corpus
of human knowledge would simply overwhelm any current
educational model, with the exception of homeschooling. I
don’t know what the student-teacher ratio would need to be in
a fully realized Constructivist educational system, but I doubt
that twenty-to-one would be sufficient. That’s the level
needed to maintain a semblance of order, more a
peacekeeping force than an army of mentors.

There have been occasional attempts to create a fully
Constructivist educational system, but these, like the
manifold utopian communities which have been founded,
flourish briefly, then fade or fracture, and do not survive the
test of time. The level of dedication and involvement required
from both educator/mentors and parents is simply too big an
ask. This is the sort of thing that a hunter-gatherer culture
has no trouble with: the entire world is the classroom, the
child explores it, and an adult is always there to offer an
explanation or story to round out the child’s knowledge. We
live in an industrial culture (at least, our classrooms do),
where there is strict differentiation between ‘education’ and
the other activities in life, where adults are ‘educators’ or they
are not, where everything is highly formal, almost ritualized.
(Consider the highly regulated timings of the school day –
equal parts order from chaos, and ritual.) There could never
be enough support within such a framework to sustain a
Constructivist model. This is why we have the present
stalemate; we know the right thing to do, but, heretofore, we
have lacked the resources to actualize this knowledge.
That has now changed.

The educational field must be recognized as the key element
which will power the unfinished Constructivist revolution.
The educational field does not recognize the boundaries of the
classroom, the institution, or even the nation. It is simply
pervasive, ubiquitous and available as needed. Within that
field, both students and educator/mentors can find all of the
resources needed to make the Constructivist project a
continuing success. There need be no rupture between years
two and three, no transformation of educational style from
inward- to outward-directed. Instead, there can and should
be a continual deepening of the child’s exploration of the
corpus of knowledge, under the guidance of a network of
mentors who share the burden. We already have most of the
resources in place to assure that the child can have a
continuous and continually strengthening relationship with
knowledge: Wikipedia, while not perfect, points toward the
kinds of knowledge sharing systems which will become both
commonplace and easily created throughout the 21st century.

Sharing needs to become a foundational component in a
modern educational system. Every time a teacher finds a
resource to aid a student in their exploration, that should be
noted and shared broadly. As students find things on their
own – and they will be far better at it than most educators –
these, too, should be shared. We should be creating a great,
linked trail behind us as we learn, so that others, when
exploring, will have paths to guide them – should they choose
to follow. We have systems that can do this, but we have not
applied these systems to education – in large part because
this is not how we conceive of education. Or rather, this is not
how we conceive of education in the classroom. I do a fair bit
of corporate consulting, and this sort of ‘knowledge capture’
and ‘knowledge management’ is becoming essential to the
operation of a 21st century business. Many businesses are
creating their own, ad-hoc systems to share knowledge
resources among their staff, as they understand how
important this is for professional development.

This is a new battle line opened up in the war between the
unfinished constructivist project and the older, more formal
methods of education. The corporate world doesn’t have time
for methodologies which have become obsolete. Employees
must be constantly up-to-date. Professionals – particularly
doctors and lawyers – must remain continuously wellinformed
about developments in their respective fields.

Those in management need real-time knowledge streams in
order recognize and solve problems as they emerge. This is
all much more ludic than formal, much more self-directed
than guided, much more juvenile than adult – even though
these are all among the most adult of all activities. This
disjunction, this desynchronization between the needs of the
world-at-large and the delivery capabilities of an ever-moreobsolete
educational system is the final indictment of thingsas-
they-are. Things will change; either education will become
entirely corporatized, or educators will wholly embrace the
unfinished Constructivist project. Either way the outcome
will be the same.

Fortunately, the educational field has something else to offer
educators beyond the near-infinite supply of educational
resources. It is a network of individuals. It is a social
network, connected together via bonds of familiarity and
affinity. The student is embedded in a network with his
mentors; the mentors are connected to other students, and to
other mentors; everyone is connected to the parents, and the
community. In this sense, the formal space of the ‘classroom’
collapses, undone by the pressure provided by the social
network, which has effectively caused the classroom walls to
implode. The outside world wants to connect to what
happens within the crucible of the classroom, or, more
specifically, with the magical moment of knowledge
transference within the student’s mind. This is what we
should be building our social networks to support. At
present, social networks like Facebook and Twitter are dull,
unsophisticated tools, capable of connecting together, but
completely inadequate when it comes to shaping that
connection around a task – such as mentoring, or exploring
knowledge. A second generation of social networks is already
reaching release. These tools display a more sophisticated
edge, and will help to support the kinds of connections we
need within the educational field.

None of this, as wonderful as it might sound (and I admit that
it may also seem pretty frightening) is happening in a
vacuum. There are larger changes afoot within Australia, and
no vision for the future of education in Australia could ignore
them. We must find a way to harmonize those changes with
the larger, more fundamental changes overtaking the entire
educational system.

Retail Activity by CHU

Part Three: The National Curriculum

Underlying fear of a Constructivist educational project is that
it would simply give children an excuse to avoid the tough
work of education. There is a persistent belief that children
will simply load up on educational ‘candy’, without eating
their all-so-essential ‘vegetables’, that is, the basic skills which
form the foundation for future learning. Were children left
entirely to their own devices, there might be some danger of
this – though, now that we live in the educational field, even
that possibility seems increasingly remote. Children do not
live in isolation: they are surrounded by adults who want
them to grow into successful adults. In prehistoric times,
adults simply had to be adults around children for the
transference of life-skills to take place. Children copied,
imitated, and aped adults – and still do. This learning-bymimesis
is still a principle factor in the education of the child,
though it is not one which is often highlighted by the
educational system. Industrial culture has separated the
adult from the child, putting one into the office, the other into
the school. That separation, and the specialization which is
the hallmark of the Industrial Age, broke the natural and
persistent mentorship of parenting into discrete units: this
much in the home, this much in the school. If we do not trust
children to consume a nourishing diet of knowledge, it is
because we do not trust ourselves to prepare it for them. The
separation by function led to a situation where no one is
responsible for the whole thread of the life. Parents look to
teachers. Teachers look to parents. Everyone, everywhere,
looks to authority for responsible solutions.

There is no authority anywhere. Either we do this ourselves,
or it will not happen. We have to look to ourselves, build the
networks between ourselves, reach out and connect from
ourselves, if we expect to be able to resist a culture which
wants to turn the entire human world into candy. This is not
going to be easy; if it were, it would have happened by itself.
Nor is it instantaneous. Nothing like this happens overnight.
Furthermore, it requires great persistence. In the ideal
situation, it begins at birth and continues on seamlessly until
death. In that sense, this connected educational field mirrors
and is a reflection of our human social networks, the ones we
form from our first moments of awareness. But unlike that
more ad-hoc network, this one has a specific intent: to bring
the child into knowledge.

Knowledge, of course, is very big, very vague, mostly
undefined. Meanwhile, there are specific skills and bodies of
knowledge which we have nominated as important: the ability
to read and write; to add and subtract, multiply and divide; a
basic understanding of the physical and living worlds; the
story of the nation and its peoples. These have very recently
been crystallized in a ‘National Curriculum’, which seeks to
standardize the pedagogical outcomes across Australia for all
students in years 1 through 10. Parents and educators have
already begun to argue about the inclusion or exclusion of
elements within that curriculum. I was taught phonics over
forty years ago, but apparently it’s still a matter of some
debate. The teaching of history is always going to be
contentious, because the story we tell ourselves about who we
are is necessarily political. So the adults will argue it out –
year after year, decade after decade – while the educators and
students face this monolithic block of text which seems to be
the complete antithesis of the Constructivist project. And,
looked at one way, the National Curriculum is exactly the type
of top-down, teacher-to-student, sit-down-and-shut-up sort
of educational mandate which is no longer effective in the
business world.

All of which means its probably best that we avoid viewing up
the National Curriculum as a validation, encouraging us to
continue on with things as they are. Instead, it should be
used as mandate for change. There are several significant
dimensions to this mandate.

First, putting everyone onto the same page, pedagogically,
opens up an opportunity for sharing which transcends
anything before possible. Teachers and students from all over
Australia can contribute to or borrow from a wealth of
resources shared by those who have passed before them
through the National Curriculum. Every teacher and every
student should think of themselves as part of a broader
collective of learners and mentors, all working through the
same basic materials. In this sense, the National Curriculum
isn’t a document so much as it is the architecture of a
network. It is the way all things educational are connected
together. It is the wiring underneath all of the pedagogy,
providing both a scaffolding and a switchboard for the
learning moment.

Is it possible to conceive of a library organized along the lines
of the National Curriculum? Certainly a librarian would have
no problem configuring a physical library to meet the needs of
the curriculum. It’s even easier to organize similar sorts of
resources in cyberspace. Not only is it easy, there’s now a
mandate to do so. We know what sorts of resources we’ll
need, going forward. Nothing should be stopping us from
creating collective resources – similar to an Australian
Wikipedia, and perhaps drawing from it – which will serve
the pedagogical requirements of the National Curriculum.
We should be doing this now.

Second, we need to think of the National Curriculum as an
opportunity to identify all of the experts in all of the areas
covered by the curriculum, and, once they’ve been identified,
we must create a strong social network, with them inside,
giving them pride of place as ‘nodes of expertise’. Knowledge
is not enough; it must be paired with mentors who have been
able to put that knowledge into practice with excellence. The
National Curriculum is the perfect excuse to bring these
experts together, to make them all connected and accessible
to everyone throughout the nation who could benefit from
their wisdom.

Here, once again, it is best to think of the National
Curriculum not as a document but as a network – a way to
connect things, and people, together. The great strength of
the National Curriculum is, as Dr. Evan Arthur put it, that it is
a ‘greenfields’. Literally anything is possible. We can go in
any direction we choose. Inertia would have us do things as
we’ve always done them, even as the centrifugal forces of
culture beyond the classroom point in a different direction.
Inertia can not be a guiding force. It must be resisted, at
every turn, not in the pursuit of some educational utopia or
false revolution, but rather because we have come to realize
that the network is the educational system.

Moving from where we are to where need to be seems like a
momentous transition. But the Web saw repeated
momentous transitions in its first fifteen years and we
managed all of those successfully. We can absorb huge
amounts of change and novelty so long as the frame which
supports us is strong and consistent. That’s the essence of the
parent-child relationship: so long as the child feels it is being
cared for, it can endure almost anything. This means that we
shouldn’t run around freaking out. The sky is not falling. The
world is not ending. If anything, we are growing closer
together, more connected, becoming more important to one
another. It may feel a bit too close from time to time, as we
learn how to keep a healthy distance in these new
relationships, but that closeness supports us all. It can keep
children from falling through the net of opportunity. It can
see us advance into a culture where every child has the full
benefit of an excellent education, without respect to income
or circumstance.

That is the promise. We have the network. We live in the
educational field. We now have the National Curriculum to
wire it all together. But can we marry the demands of the
National Curriculum with the ludic call of Constructivism?
Can we create a world where literally we play into learning?
This is more than video games that have math drills
embedded into them. It’s about capturing the interests of a
child and using that as a springboard for the investigation of
their world, their nation, their home. That can only happen if
mentors are deeply involved and embedded in the child’s life
from its earliest years.

I don’t have any easy answers here. There is no magic wand
to wave over this whole uncoordinated mess to make it all
cohere. No one knows what’s expected of them anymore –
educators least of all. Are we parents? Are we ‘friends’?
Where do we stand? I know this: we stand most securely
when we stand connected.

Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing

Yarn bombing in Philly

2010-09-06T04:51:00.000-07:00

Philadelphia light poles get all cozied up

Friday, September 3rd, 2010

By: Peter Crimmins
pcrimmins@whyy.org

Those who have an eye for graffiti may have noticed downtown Philadelphia is getting fluffier. Some scofflaws are using yarn and knitting needles to wrap sidewalk poles and bikes racks with cozies, scarves, and socks. A Chinatown art gallery gives guerrilla knitting the highbrow treatment.

Jerry Kaba strings up yarnwork for his artist girlfriend Jessie Hemmons

Jessie Hemmons wrapped two light poles on Juniper Street near the Convention Center in cozies knit from bright pink, orange, and green yarn. The streetlights are about 30 feet high, requiring a motorized cherry picker to get to the top.

"This is an opportunity I wouldn't be able to do on my own, because I don't have the resources, like being able to go up in a cherry picker."

Hemmons was invited to cover two light poles by an art gallery called Jolie Laide. Director Travis Heck likes the contrast of candy-colored yarn in a post-industrial urban block.
"It's this grungy, broken windows, all the doors are messed up. And to make it a little more beautiful – brighten it up a little with her stuff."

The covered light poles are the largest pieces of yarn bombing in Philadelphia. Hemmons did not install them by herself – she sent her boyfriend up thirty feet in the wobbly cherry picker.
The yarn will remain on the pole until it rots off – but Hemmons says when it gets faded and dirty she will cut it off.

Yarn bombing

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Utility pole warmer on a New York City street corner.

Yarn bombing, yarnbombing, graffiti knitting or yarnstorming is a type of graffiti or street art that employs colorful displays of knitted or crocheted cloth rather than paint or chalk. While yarn installations – called yarn bombs or knit bombs – may last for years, they are considered non-permanent, and, unlike graffiti, can be easily removed if necessary. The practice is believed to have originated in the U.S. with Texas knitters trying to find a creative way to use their leftover and unfinished knitting projects, but it has since spread worldwide.^[1]

While other forms of graffiti may be expressive, decorative, territorial, socio-political commentary, advertising or vandalism, yarn bombing is almost exclusively about reclaiming and personalizing sterile or cold public places.^[1] Dave Cole is a contemporary sculpture artist who practiced knitting as graffiti for a large-scale public art installation in Melbourne Australia for the Big West Arts Festival in 2009. The work was vandalized the night of its completion.^[2] An anonymous knitter or group of knitters dubbed the "Midnight Knitter" has been decorating branches and poles under the cover of darkness in Cape May, New Jersey.^[3]

Both Your Houses. Future Present (Fiction) by Mark Pesce, CHU, and Fly.

2010-08-01T05:13:00.000-07:00

Both Your Houses by Mark Pesce.

Images by CHU.

National Fresh by CHU

“It’s cold over here.”
“Fuel lines.”

Funk Submarine (Sketch) by CHU

“Oh.” It looked up and noted the long translucent
tubes transferring a honey-golden syrup. They terminated in
the smooth, round belly of the vessel, which seemed to swell
visibly as the fuel entered. “What I don’t understand…”
“There’s so much I don’t understand,” the other
replied. “How and why are just the tip of it.”

Jesson by CHU (Aerosol on Steel)

“There are rules. And that’s an end to it.”
“Ten percent.” Reading the gauge.
“I know the rhyme. ‘Twenty percent a third are sent
Thirty percent and halfway spent / Fifty percent, too late,
repent.’ I’ve known it since I learned to speak.”
“I know it, too…”
“Then you know we have plenty of time.” A dark
laugh. “Probably.”
“Been to the line?”
“Yes. Not long now. T is huge, a colossus.”
“I see T everywhere.”
“Everywhere but here. Here, at least, we’re safe. For
now.”

Get Stupid Fresh By CHU (Close up)

“Twelve percent.”
“Plenty of time.”
“It doesn’t make sense to wait.”
“Then go ahead, climb aboard the Zoster and strap
yourself down. Feel the belt as it oozes into your sides. One
with the ship. There you are, and there you’ll stay. Staring at
the featureless gray walls all around you. Waiting. A few
minutes – or a few days. I’d go mad in the first hour.”
“Come with me. At least we could talk.”
“That’s already decided.”
“You could always change your mind.”
Another dark laugh.

Return To Bass Planet

“Fifteen percent.”
“Filling up faster now.” Both looked toward the
pulsating fuel lines.
“It doesn’t make sense…”

Jesson By CHU

“There are rules. And that’s an end –”
“That’s not what I mean. You don’t have to stay.”
“True. I don’t have to stay.”
“Then why?”
“I want to find out what happens next. I want to
know, once you’ve gone, once the Zoster has blasted out to the
Unknown Beyond, what becomes of those left behind.”

One Man Banned By CHU

“You know what happens – T comes, and death
comes with it.”
“Really? You know this? How?”
“Common knowledge. And common sense.”
“It’s not suicide. It’s curiosity.”
“Aren’t you curious about the Unknown Beyond?”
“No. That we know about. A void, then a landing,
then it all begins all over again.”
“But you’ve never been there yourself.”
“Our ancestors have, from time out of mind. I want
something new, something they never saw.”
“Suicide.”
“Curiosity.”
“Nineteen percent.”
“Hadn’t you better get on board?”
“If I miss this one, I’ll catch the next.”
“And hope this one isn’t the last.”
“But that’s what you’re hoping, isn’t it?”
“Not hoping. Waiting.”
“You’ll see us all off, and face your fate.”
“Indeed.”
“You seem almost relaxed in the face of death.”
“I won’t die.”
“You’re a fool.”
“Am I? Very well then, board the Zoster. You
wouldn’t want to be fooled into missing your ride.”

Drum and Bass Racer By CHU

“And too sure of yourself.”
“A self-assured fool. Or, just perhaps, the possessor
of some hidden knowledge.”
“Shouldn’t you be going?”
“Not until you tell me what you know.”
“Twenty-one percent.”
“Tell me.”
“It wouldn’t make any difference.”
“It might.”
“How?”
“I wouldn’t grieve.”
“I hadn’t thought...” It looked at the other for a long
moment. “Don’t grieve. I will be safe. And alive.”
“How? T is coming.”
“I found a place beyond T’s reach.”
“You’ll spend your lifetime hiding in a cubbyhole?”
“Another space. Very different.”

Distress (Sketch) by CHU

“You’ll be safe there?”
“Perfectly.”
“And free?”
“Yes. Well. Free enough.”
“And you haven’t shared this?”
“What difference would it make? Everyone is
leaving.”
“It will be lonely.”
“You’ll have company.”
“I mean for you, here, once we’re gone.”
“I doubt I’ll be the only one. And I’ll explore.”
“Is it big, this other space?”
“Vast.”
“You almost make me want to stay.”
“Someone needs to go.”

By CHU

“Twenty-three percent.”
“You can’t drag this out forever.”
“I know. I know.”
“Here we are.” They stopped before the entrance to
the Zoster.

Hip Hop Transporter By CHU

“So…”
“Yes?”
“That’s it?”
“It is.”
“I want something more.”
“What?”
“This.” It bulged from the center.
“Your genome?”
“Part of it.”
“For me?”
“To share.”
“Oh. Well. Alright.” It bulged now, as well. The
bulges met, melted, and coalesced back into two smooth
surfaces.

“Now part of you will go with me.”
“And part of you will stay.”
“I should hurry now.”
“Indeed. You might have waited too long.”
“Be careful.”
“Have fun. A fresh start in a new world. I almost
envy you.”
“And I you.”
At just under thirty-two percent the space around
the Zoster seemed to twist, as if the ship would grow to span
all space. Then nothing remained.
It quickly left.

Hole In The Wall By CHU

The opening was still there. Obvious, unprotected,
easy. It had to strip down. Removing one layer. Keeping
another. It leaned against the opening, feeling itself taken up
a hundred thousand points, ferried across the barrier.
Let me in. I want to live forever.

GetStupid Fresh By CHU (Close Up)

Mark Pesce - Words.
CHU - Images.
Steve 'Fly Agaric'' - Mixing

Writing Beyond my own Interests. (Draft 1)

2010-05-15T19:04:00.000-07:00

Writing Beyond my own Interests.

"What are your thoughts? Observations? Suggestions? Now’s the time, and here’s the place. Thanks!" M. Pesce:

My thoughts about the future of the book, are best described, ironically enough, in a book, a book I wrote; a work in progress, an experiment into holographic prose.

But I can place a bet that nobody has even read this book yet, as I just published the 41st edition over at Lulu.com/flyagaric23, yesterday, and will be ordering a copy to proof read, and move on to the next edition.(14/5/10).

Although many may disagree with my content, I think that my method of revising, updating, adding and taking away, condesing the text based upon new observations and new data is a step in the direction of where 'the book' is headed.

A part of me wants to declare that this book (IS) the future the book, my ego scriptor and inner constellation of protagonists want me to shout Look, look at my book, oh please read it, its very good you know.

Yet, the name of the game here is 'share this course' and the buzz terms like collaboration, sharing and co-creating are not 'lock yourself away and write a book', which to me, truly is the way to write a book, in the conventional sense. Isolation and all, floatation tank and Sativa stash if possible...

So I figure that the future of the book, and the future of writing and reading 'books' may depend somewhat upon the question of 'getting over one's own interests' and somehow opening up fully and embracing the mystique of the 2010 Global Village, and the new means for sharing new kinds of collective, collaborative information.

It seems to me that Government generally, clogs up and slows down the inevitable coming together of the tribes by shared experience.

2012 ICOSAHADRON SUPER KALEIDA.

2010-05-10T17:39:00.000-07:00

To be printed as TWENTY TRIANGLES to construct a Icosohedron.(Gazebatron)
Thanks to Mark Pesce for kicking fwd/ this launch into 'hyperspace' and to Bogus Magus for providing the cut & build models. Cheers Mate!

Iconoclaste Cosmologist

Holographish Cubed Earwicker

Waking Finnegan Stephen Deadalus

Vicorecourse Bruwnitsche IbsenPound

Ubermatrix Holocalips Translittering

Shannon

Maxim Fourier

Revolution Scientist

Communicate Microprocess

Complexity Coding Shannonbit

Nyquist Equations Weaver Language

Calculating Holographique Entropy

Mathematics Engineering Minimaxi

Tribes

Marshall

McLuhan

Tele-vision

Remix Gutenberg

Psychology Reverse

Understanding Media

The Medium is the message

Electronic Tribell Obsolete

Tetrad Diagram Retrieve Equation

Metamorpho Alfabetizz Handicraft

Typergraphic TribalGlyphic GlobalVillage

Harvard Professor

Psychedelic Poet

Counterculture Warrior

Neurologic Cyberpilot

Transpersonai Circuit Scientist

Timspace Migration Rising Psychonaut

Intelligence Operating Manual

Engineering Imagination Transmissioner

W i l l i a m

Astrology Laureate

Rebellion Cuchulain

Automatic Visionary

Legislatyr Playwrite Occultist

Silver AppleMoon Golden Applesun

Oriental Spiritualist Dramatist

Literature Wholopoem Mysticism

Great

Nietzsche

E t e r n a l

Holotheo

Return Pantheist

Philosophy Logic

Theology Recurrence

Philologist Pastmoderniche

Continental JungFreud Superman

Spider lightning Spake Internet

Existential Perspectivist Genius

Zarathustra Ontology Zeropointgod

Count

Alfred

Korzybski

Humanitas

General Semantics

Organism Binding

Linguistical Wholograph

Aristopple Intraverse

Neurologi Map Territory

William Burroughs Synergetic Fuller

Geometry Symbolism Therapy

Extensional Differential Education

Ash

Bruno

Pantheist

Astrology

Magic Memory

Giordano Nolan

Hermetical Quintessence

Cosmologo Olografic

Decentralized Models Cyberspace

Shadow Nickusa Gio Mnemonic

Heretical Transmigration Infinite

Humanitas Metempsychic Burnedatthestake

Pound
E z r a

Prisoner

Vorticism

Cantos Histories

Imagistic Cathay

Juxtaposing Personae

Holocanto Tele process

Ideogram Faben Hoofasa

Idaho London Rapallo Paris

Literary Economic Heretic

Hypervortext Constitution Ideograms

Art

Ernest

Francisco

Fenollosa

Writing Japanheart

Oriental Scholar

Holowriting dossier

Ideogram Metaprogram

Historical Kulture Proffessor

Chinese Character Poetry Medium

Economic Symbolism Structuring

Imagists Knickerbocker Logowriting

Bert

Wiener

Processing
Klassikspace

Bio Computer

Universal Turing

Engineering Feeding Back

Cybernetic Peaceful Filter

Automation Thinking Humanist

Neuro-linguistic Minded Holismgram

Bertrand Russel Psychology Fourier

Artificial Intelligence Metaprogram

Orson

Holofilmic Perception

Adaptation Cinemagick

Magnificent Macbeth Producer

Writer Citizen Actor Director

Shakespearean Academy Screenplayer

Juxtaposing American Histographic

Thunder Rhetoric

Historicist Ribelle

Filosophy Naturale

Recirculate Revicorso

Cycle Platonest Language Mystery

Metaphysique Episteam Vichean

Ubiquitous Enlightenment Oratio

Graff

Spaceship Architect

Geodesic Tetrascroll

Goes In For Structure Ezra Sez’

Dymaxion Design Scenario

Legal Piggily Lawcap Critical

Energetic Synergetix Manual

Universail Tensegrity Geometry

Von

Neumann

Cellular

Negentropy

WarGame Zero Sum

Co-creator Internet

Programmable Computers

Shannon Turing Wiener Joyce

Revolutions Switching Fourier

Etching Digital Density Binary

Automata Calculation Eniac

Minimaxi Combinatrix Information

Wilhelm

Psychoanalyst

Imposition Orgone

Energetic Biofeedback

Pantheism Bruno Orgasm

Open Sexual Gestalt Scientist

Omnipresent Dialectic Dynamo

SuperCosmic Energetic Psychiatry

Bio Interface

Cetacean Nation

Acoustical Linguistics

Interspecies Communication

Meditating Cogitate Repeats

Dyadic Cyclone Floatation mindtank

Biophysics Simulation Samahdi

Computations Experiment Experience

Taxonomic McLuhan

Hyper Spatial Navigator

Psychedelic Cyber Concressence

Vico Recorsi Timewave Novelty

Technologos Hyperborix Finnegan

Panspermia Cyberculture Psilocybin

Bohemian Startrek

Infotransfer NonLocal

Information Cosmology

Posthumerous Quantum Maverick

Destiny Matrix Density Matrix

Statistical Totality Gravity
Retrocausal Holotropic Time Traveller

Futurist Wilson

Ontologist Scholar

Philosofa Humorist

Counterculture Bobhisattva

Fellanosza Bucky Optimist

Universe Process Interact Process

Luminating Cybernetique Critterhood

Sigismundo Maletesta HagbardCeline

Beyond Theorizon: Holographic Hagbard and Finnegan Rise.

2010-04-20T07:32:00.000-07:00

Beyond Theorizon: Holographic Hagbard and Finnegan Rise. By Steven James Pratt.

On my 34th Birthday last week I had many epiphanies, including the news about the Icelandic Volcano. Over a webchat with a friend I got wind that my transcribed interview with Saul Paul Sirag was linked from Jack Sarfatti’s web site Stardrive.org.

After checking out the new site only three days ago I have been propelled into the world of Sarfatti physics and his cutting edge research. I met Jack 10 years ago in North Beach when I was on my American adventure to discover more about Dr. Robert Anton Wilson. Jack was kind enough to invite me to his apartment where I conducted the interview with Saul.

Since the emergence of the Maybelogic Academy my studies have drifted away from physics toward a more comprehensive study of literature, poetry, alternative economics, NonEuclidean politics and some tenets of discordianism.

Since revisiting Jack Sarfatti’s stardrive website recently, that I used to visit since I first surfed the information superhighway back in the mid 1990’s; a series of new thoughts concerning Sarfatti physics, RAW cybernetics and the Physics of Joyce’s Finnegans Wake have emerged.

In some sense RAW felt that Finnegans Wake and other sorts of special writing including his own, reflect the 'Holographic Models' developed by David Bohm. I propose furthermore that FW provides humanity with the first, culturally relative model for the ‘holographic principle’ as defined by Hooft, Susskind, Sarfatti and others on the cutting axis of physics consciousness cosmology research.

I view Finnegans Wake as a manual to the 'Holographic Principle', a textual hologram crafted between 88-70 years ago. A hologramic prose tool that aggregates history into a kind of black hole environment, contorted structure, noneuclidean geometry, quantum tunneling, from which emerge a constellation of treasures (Adams and Eifs) entangled with balanced equations of non-ordinary spaces, pairs, quarts, vectors, orbifolds.

Entangled and consciously balanced and ordered? yet seemingly chaotically represented as a text? Each sentence and almost every word (etym) preserves the holographic principle. And I feel preserves the general condition of humanity shouting and grunting from the streets, I think, maybe due to Vico's influence and Bruno?

James Joyce translates the Holographic principle into a Grand Unified Theory of Universe. Life as Novel structures. Reduced to etyms and ifs, yet all holographically reflective. Forcing us somewhat to enter the flux and paradox at the helm of the conscious Pilot wave, setting keel to breakers, turning the world word inside out, compressing equivalence and complemetarity everywhere and nowhere throughin’ the text itself, the reader and writer, or the speaker and composer fuse within a higher dimensional spacetime. Orbififolded dimensions hidden with Rhyme-trace and the potential of___

I see a parallel in the writing of Jack Sarfatti, and many physicists and mathematicians, scientists in the best sense of the word, are often bound up to principles' that can be verified, although Jack is often buzzing about the fringe of the theoretical and experimental hypercube, bridge building and unifying, generalizing. Like Joyce, Jack Sarfatti invokes the principle architects and cornerstones of his theories as textual and symbolic demonstrations and communications.

This process reflects good research based thinking and I commend those who keep up rigorous operationalist language in their statements, defined by experimental data and experiential data, somewhat balanced. Dr. John C. Lilly like RAW, presents balanced communications when dealing with complex and widely misunderstood concepts, this balanced communication attracts informed questions while providing working models upon which to hang independent research in ‘fringe’ areas of science such as ‘paranormal’ studies, Ufology, multiworlds, Timetravel etc...Finnegans Wake studies?

RAW introduced me to Jack by way of his books (Cosmic Trigger) and ever since then I have followed his work as best I can although up until now I have not thought much about Sarfatti physics and Finnegans Wake, up until a few days ago when I noticed the shift in physics, or group recognition of the Holographic Principle.

My intuition and reasoning tell me that the Holographic Principle in cosmology is perhaps isomorphic to some of Dr. Robert Anton Wilson’s ideas and models of ‘reality’ or interacting processing, and his thoughts about Finnegans Wake and what he liked to call HOLOGRAPHIC PROSE, that are spread throughout his 36 book. I call for a great study into this field of Holographic Prose', similar in scale to the Ray Kurzweil inspired Sungularity University.

May we enrich the whole, love, steve fly.

Proof and Pudding: Wikipedia vs. James Joyce´s Tetradomational Gazebocroticon

2010-04-19T16:37:00.000-07:00

Hologramic Prose:

juxtaposed from WIKIPEDIA

and Finnegans Wake by James Joyce. Images by CHU.

I would like to thank the Maybelogic Academy, the late Dr. Robert Anton Wilson, Lycaeum.org/joyce, Jack Sarfatti, Wikipedia critters, Mark Pesce, CHU, and friends that have helped to develop and share new tools to help enable 'hyperlinked' articles such as this Wiki-Joyce juxtaposition.

"By the hross of Xristos, Holophullopopu lace is a shote of excramation! Bumchub! Emancipator, the Creman hunter (Major Hermyn C. Entwhistle) with dramatic effect reproducing the form of famous sires on the scene of the formers triumphs, --James Joyce, Finnegans Wake, pg. 342.

Discovery of String Theory
The story goes that "In 1970, a young physicist named Leonard Susskind got stuck in an elevator with Murray Gell-Mann, one of physics' top theoreticians, who asked him what he was working on. Susskind said he was working on a theory that represented particles 'as some kind of elastic string, like a rubber band.' Gell-Mann responded with loud, derisive laughter."^[24]

http://en.wikipedia.org/wiki/Leonard_Susskind

"Sussumcordials all round, let ye alloyiss and ominies, while I stray and let ye not be getting grief out of it, though blighted troth be all bereft, on my poor headsake ----James Joyce, Finnegans Wake, pg. 453.

"The Susskind-Hawking battle, also known as the black hole war,^[1] refers to the vigorous two-decade long debate^[2] that Stanford University theoretical physicist Leonard Susskind had with cosmologist Stephen Hawking over the behavior of black holes. Hawking argued that information is lost when black holes evaporate. Susskind found this idea so disturbing that "he publicly declared war",^[3] which he described in his book "The Black Hole War: My battle with Stephen Hawking to make the world safe for quantum mechanics". The solution to the problem that concluded the battle is the holographic principle, which was first proposed by Gerardus 't Hooft but was given a precise string theory interpretation by Susskind. With this, as the title of an article puts it, "Susskind quashes Hawking in quarrel over quantum quandary".^[4]

http://en.wikipedia.org/wiki/Susskind-Hawking_battle

"God's drought, he sayd, after a few daze, thinking of all those bliakings, how leif pauses! Here you are back on your hawkins, from Blasil the Brast to our povotogesus portocall, the furt on the turn of the hurdies -James Joyce, Finnegans Wake, pg. 316.

"Gerardus (Gerard) 't Hooft (Dutch pronunciation: [ˌɣeːrɑrt ət ˈhoːft]) (born July 5, 1946, Den Helder, Netherlands) is a theoretical physicist at Utrecht University, the Netherlands. He shared the 1999 Nobel Prize in Physics with Martinus J. G. Veltman "for elucidating the quantum structure of electroweak interactions". Asteroid 9491 Thooft is named in his honor; he has written a constitution for its future inhabitants. He was awarded the Lorentz Medal in 1986 and the Spinozapremie in 1995. Nobel Prize in Physics laureate Frits Zernike was his great-uncle.^[1]

http://en.wikipedia.org/wiki/Gerardus_%27t_Hooft

"O, you've gone the way of the Danes; variously catalogued, regularly regrouped; a bushboys holoday, a quacker's mating, a wenches' sandbath; the same homoheatherous checkinlossegg as when sollyeye airly blew ye; real detonation but false report; spa mad but inn sane; half emillian via bogus census but a no street hausmann when allphannd --James Joyce, Finnegans Wake, pg. 129.

In quantum mechanics, the Hamiltonian H is the operator corresponding to the total energy spectrum is the set of possible outcomes when one measures the total energy of a system. It is of fundamental importance in most formulations of quantum theory because of its close relation to the time-evolution of a system (see below). of the system. Its

http://en.wikipedia.org/wiki/Hamiltonian_%28quantum_mechanics%29

"with his muffetee cuffes ownconsciously grafficking with his sinister cyclopes after trigamies and
spirals' wobbles pursuiting their rovinghamilton selves and godolphing in fairlove to see around the waste of noland's browne jesus 4 (thur him no quartos!) --James Joyce, Finnegans Wake, pg. 383.

Quantum action principle

In ordinary quantum mechanics, the Hamiltonian is the infinitesimal generator of time-translations. This means that the state at a slightly later time is related to the state at the current time by acting with the Hamiltonian operator (times -i). For states with a definite energy, this is a statement of the DeBroglie relation between frequency and energy, and the general relation is consistent with that plus the superposition principle.
But the Hamiltonian in classical mechanics is derived from a Lagrangian, which is a more fundamental quantity considering special relativity. The Hamiltonian tells you how to march forward in time, but the notion of time is different in different reference frames. So the Hamiltonian is different in different frames, and this type of symmetry is not apparent in the original formulation of quantum mechanics.
The Hamiltonian is a function of the position and momentum at one time, and it tells you the position and momentum a little later. The Lagrangian is a function of the position now and the position a little later (or, equivalently for infinitesimal time separations, it is a function of the position and velocity). The relation between the two is by a Legendre transform, and the condition that determines the classical equations is that the Action is a minimum.

http://en.wikipedia.org/wiki/Path_integral_formulation

"And thanks ever so many for the ten and the one with nothing at all on. I will tie a knot in my stringamejip to letter you with my silky paper, as I am given now to understand it will be worth my price in money one day so don't trouble to ans unless sentby special as I am getting his pay and wants for nothing so I can live simply and solely for my wonderful kinkless and its loops of loveliness.--James Joyce, Finnegans Wake, pg.458.

"Loop quantum cosmology
Study of LQC has led to many successes, including the emergence of a possible mechanism for cosmic inflation, resolution of gravitational singularities semi-classical Hamiltonians. This subfield was originally started by Martin Bojowald and Abhay Ashtekar at the Institute for Gravitational Physics and Geometry at Penn State and they continue to lead the research, but now there are many more active researchers working on various different aspects of the subject. (LQC) is a model of as well as development of effective.

"Big went the bang: then wildewide was quiet: a report: silence --James Joyce, Finnegans Wake, pg. 98

"Hamiltonian mechanics is a reformulation of classical mechanics that was introduced in 1833 by Irish mathematician William Rowan Hamilton. It arose from Lagrangian mechanics, a previous reformulation of classical mechanics introduced by Joseph Louis Lagrange in 1788, but can be formulated without recourse to Lagrangian mechanics using symplectic spaces (see Mathematical formalism, below). The Hamiltonian method differs from the Lagrangian method in that instead of expressing second-order differential constraints on an n-dimensional coordinate space (where n is the number of degrees of freedom of the system), it expresses first-order constraints on a 2n-dimensional phase space.^[1]

http://en.wikipedia.org/wiki/Hamiltonian_mechanics

"The goot old gunshop monowards for manosymples. Tincurs tammit! They did oak hay doe fou Chang-il-meng--James Joyce, Finnegans Wake, pg. 338.

In mathematics, a symplectic manifold is a smooth manifold, M, equipped with a closed, nondegenerate, skew-symmetric 2-form, ω, called the symplectic form. The study of symplectic manifolds is called symplectic geometry or symplectic topology. Symplectic manifolds arise naturally in abstract formulations of classical mechanics and analytical mechanics as the cotangent bundles of manifolds, e.g., in the Hamiltonian formulation of classical mechanics, which provides one of the major motivations for the field: The set of all possible configurations of a system is modelled as a manifold, and this manifold's cotangent bundle describes the phase space of the system.
Any real-valued differentiable function, H, on a symplectic manifold can serve as an energy function or Hamiltonian. Associated to any Hamiltonian is a Hamiltonian vector field; the integral curves of the Hamiltonian vector field are solutions to the Hamilton–Jacobi equations. The Hamiltonian vector field defines a flow on the symplectic manifold, called a Hamiltonian flow or symplectomorphism. By Liouville's theorem, Hamiltonian flows preserve the volume form on the phase space.

http://en.wikipedia.org/wiki/Symplectic_manifold

"The great fact emerges that after that historic date all holographs so far exhumed initialled by Haromphrey bear the sigla H.C.E. and while he was only and long and always good Dook Umphrey for the hungerlean spalpeens of Lucalizod and Chimbers to his cronies it was equally certainly a pleasant turn of the populace which gave him as sense of those normative letters the nickname Here Comes Everybody. --James Joyce, Finnegans Wake, pg. 21.

"M-theory is not yet complete; however it can be applied in many situations (usually by exploiting string theoretic dualities^{[clarification needed]}). The theory of electromagnetism was also in such a state in the mid-19th century; there were separate theories for electricity and magnetism and, although they were known to be related, the exact relationship was not clear until James Clerk Maxwell published his equations, in his 1864 paper A Dynamical Theory of the Electromagnetic Field. Witten has suggested that a general formulation of M-theory will probably require the development of new mathematical language.^{[citation needed]} However, some scientists have questioned the tangible successes of M-theory given its current incompleteness^{[weasel words]}, and limited predictive power, even after so many years of intense research.

http://en.wikipedia.org/wiki/M-theory

"the way they could not rightly tell their heels from their stools as they cooched down a mamalujo by his cubical crib, as question time drew nighing and the map of the souls' groupography rose in relief within their quarterings --James Joyce, Finnegans Wake, pg. 476.

"In physics, Hamiltonian lattice gauge theory is a calculational approach to gauge theory and a special case of lattice gauge theory in which the space is discretized but time is not. The Hamiltonian^{[disambiguation needed]} is then re-expressed as a function of degrees of freedom defined on a d-dimensional lattice.
Following Wilson, the spatial components of the vector potential are replaced with Wilson lines over the edges, but the time component is associated with the vertices. However, the temporal gauge is often employed, setting the electric potential to zero. The eigenvalues of the Wilson line operators U(e) (where e is the (oriented) edge in question) take on values on the Lie group G. It is assumed that G is compact, otherwise we run into many problems. The conjugate operator to U(e) is the electric field E(e) whose eigenvalues take on values in the Lie algebra . The Hamiltonian receives contributions coming from the plaquettes (the magnetic contribution) and contributions coming from the edges (the electric contribution).
Hamiltonian lattice gauge theory is exactly dual to a theory of spin networks. This involves using the Peter-Weyl theorem. In the spin network basis, the spin network states are eigenstates of the operator

Tr [E (e) 2]

http://en.wikipedia.org/wiki/Hamiltonian_lattice_gauge_theory

"Thanks eversore much, Pointcarried! I can't say if it's the way you strike me to the quick or that red mass I was looking at but at the present momentum, potential as I am, I'm seeing rayingbogeys rings round me. --James Joyce, Finnegans Wake, pg. 304. http://duszenko.northern.edu/joyce/quanta.html

"Action principle in quantum mechanics and quantum field theory
In quantum mechanics, the system does not follow a single path whose action is stationary, but the behavior of the system depends on all imaginable paths and the value of their action. The action corresponding to the various paths is used to calculate the path integral, that gives the probability amplitudes of the various outcomes.
Although equivalent in classical mechanics with Newton's laws, the action principle is better suited for generalizations and plays an important role in modern physics. Indeed, this principle is one of the great generalizations in physical science. In particular, it is fully appreciated and best understood within quantum mechanics. Richard Feynman's path integral formulation of quantum mechanics is based on a stationary-action principle, using path integrals. Maxwell's equations can be derived as conditions of stationary action.

http://en.wikipedia.org/wiki/Hamilton%27s_principle

"writing on the wall will hue it to the mod of men that mote in the main street) every person, place and thing in the chaosmos of Alle anyway connected --James Joyce, Finnegans Wake, pg. 118

"The Wheeler–Feynman absorber theory (also called the Wheeler–Feynman Time-Symmetric theory) is an interpretation of electrodynamics that starts from the idea that a solution to the electromagnetic field equations has to be symmetric with respect to time-inversion, as are the field equations themselves. The motivation for such choice is mainly due to the importance that time symmetry has in physics. Indeed, there is no apparent reason for which such symmetry should be broken, and therefore one time direction has no privilege to be more important than the other. Thus, a theory that respects this symmetry appears, at least, more elegant than theories with which one has to arbitrarily choose one time direction over the other as the preferred one. It is named after its originators, the late physicists Richard Feynman and John Archibald Wheeler.

http://en.wikipedia.org/wiki/Wheeler%E2%80%93Feynman_absorber_theory

"His dream monologue was over, of cause, but his drama parapolylogic had yet to be, affact. --James Joyce, Finnegans Wake, pg.474..

As the modern understanding of particle physics began to develop, retrocausality was at times employed as a tool to model then-unfamiliar or unusual conditions, including electromagnetism and antimatter.

The Wheeler–Feynman absorber theory, proposed by John Archibald Wheeler and Richard Feynman, uses retrocausality and a temporal form of destructive interference to explain the absence of a type of converging concentric wave suggested by certain solutions to Maxwell's equations.^[15] These advanced waves don't have anything to do with cause and effect, they are just a different mathematical way of describe normal waves. The reason they were proposed is so that a charged particle would not have to act on itself, which, in normal classical electromagnetism leads to an infinite self-force.^[16]
Feynman, and earlier Stueckelberg, proposed an interpretation of the positron as an electron moving backward in time^[17], reinterpreting the negative-energy solutions of the Dirac equation. Electrons moving backward in time would have a positive electric charge. Wheeler invoked this concept to explain the identical properties shared by all electrons, suggesting that "they are all the same electron" with a complex, self-intersecting worldline.^[18] Yoichiro Nambu later applied it to all production and annihilation of particle-antiparticle pairs, stating that "the eventual creation and annihilation of pairs that may occur now and then is no creation or annihilation, but only a change of direction of moving particles, from past to future, or from future to past."^[19] The backwards in time point of view is nowadays accepted as completely equivalent to other pictures, but it doesn't have anything to do with the macroscopic terms "cause" and "effect", which do not appear in a microscopic physical description.

http://en.wikipedia.org/wiki/Retrocausality

"the sameold gamebold adomic structure . . . highly charged with electrons" --James Joyce, Finnegans Wake, Pg. 615.

In quantum mechanics, a density matrix is a self-adjoint (or Hermitian) positive-semidefinite matrix, (possibly infinite dimensional), of trace one, that describes the statistical state of a quantum system. The formalism was introduced by John von Neumann (and according to other sources, independently by Lev Landau and Felix Bloch) in 1927.

It is the quantum-mechanical analogue to a phase-space probability measure (probability distribution of position and momentum) in classical statistical mechanics. The need for a statistical description via density matrices arises when one considers either an ensemble of systems, or one system when its preparation history is uncertain and one does not know with 100% certainty which pure quantum state the system is in.
Situations in which a density matrix is used include the following: a quantum system in thermal equilibrium (at finite temperatures); nonequilibrium time-evolution that starts out of a mixed equilibrium state; and entanglement between two subsystems, where each individual system must be described, via the partial trace operation, by a density matrix even though the complete system may be in a pure state; and in analysis of quantum decoherence. See also quantum statistical mechanics.

http://en.wikipedia.org/wiki/Density_matrix

"The abnihilization of the etym by . . . the first lord of Hurtreford expolodotonates through Parsuralia with an ivanmorinthorrorumble fragoromboassity amidwhiches general uttermost confussion are perceivable moletons scaping with mulicules . . . Similar scenatas are projectilised from Hullulullu, Bawlawayo, empyreal Raum and mordern Atems. --James Joyce, Finnegans Wake, pg.353.

Limit on information density
Entropy, if considered as information (see information entropy), is measured in bits. The total quantity of bits is related to the total degrees of freedom of matter/energy.
In a given volume, there is an upper limit to the density of information about the whereabouts of all the particles which compose matter in that volume, suggesting that matter itself cannot be subdivided infinitely many times and there must be an ultimate level of fundamental particles. As the degrees of freedom of a particle are the product of all the degrees of freedom of its sub-particles, were a particle to have infinite subdivisions into lower-level particles, then the degrees of freedom of the original particle must be infinite, violating the maximal limit of entropy density. The holographic principle thus implies that the subdivisions must stop at some level, and that the fundamental particle is a bit (1 or 0) of information.

http://en.wikipedia.org/wiki/Holographic_principle

"Now open, pet, your lips, pepette, like I used my sweet parted lipsabuss with Dan Holohan of facetious memory taught me after the flannel dance --James Joyce, Finnegans Wake, pg. 147

The holonomic model of the brain

Bohm also made significant^{[peacock term]} theoretical contributions to neuropsychology and the development of the holonomic model of the functioning of the brain.^[1] In collaboration with Stanford neuroscientist Karl Pribram, Bohm helped establish the foundation for Pribram's theory that the brain operates in a manner similar to a hologram, in accordance with quantum mathematical principles and the characteristics of wave patterns. These wave forms may compose hologram-like organizations, Bohm suggested, basing this concept on his application of Fourier analysis, a mathematical method for decomposing complex waves into component sine waves. The holonomic brain model developed by Pribram and Bohm posits a lens defined world view— much like the textured prismatic effect of sunlight refracted by the churning mists of a rainbow— a view which is quite different from the more conventional "objective reality" - not to be confused with objectivity - approach. Pribram held that if psychology means to understand the conditions that produce the world of appearances, it must look to the thinking of physicists like Bohm.^[2]

http://en.wikipedia.org/wiki/David_Bohm

"Sharpen his pillowscone, tap up his bier! E'erawhere in this whorl would ye hear sich a din again? --James Joyce, Finnegans Wake, pg.6"

"The de Broglie–Bohm theory, also called the pilot-wave theory, Bohmian mechanics, and the causal interpretation, is an interpretation of quantum theory. As in quantum theory, it contains a wavefunction - a function on the space of all possible configurations. Additionally, it also contains an actual configuration, even in situations where nobody observes it. The evolution over time of the configuration (that is, of the positions of all particles or the configuration of all fields) is defined by the wave function via a guiding equation). The evolution of the wavefunction over time is given by Schrödinger's equation.
The de Broglie–Bohm theory is explicitly non-local. The velocity of any one particle depends on the value of the wavefunction, which depends on the whole configuration of the universe.
This theory is deterministic. Relativistic variants require a preferred frame. Variants which handle spin and curved spaces are known. It can be modified to handle quantum field theory. Bell's theorem was inspired by Bell's discovery of the work of David Bohm and his subsequent wondering if the obvious non-locality of the theory could be removed.

http://en.wikipedia.org/wiki/De_Broglie%E2%80%93Bohm_theory

"our fireleaved loverlucky blomsterbohm, phoenix in our woodlessness, --James Joyce, Finnegans Wake, pg. 55.

In particle physics, supersymmetry (often abbreviated SUSY) is a symmetry that relates elementary particles of one spin to other particles that differ by half a unit of spin and are known as superpartners. In a theory with unbroken supersymmetry, for every type of boson there exists a corresponding type of fermion with the same mass and internal quantum numbers, and vice-versa.
So far, there is only indirect evidence for the existence of supersymmetry.^[1] Since the superpartners of the Standard Model particles have not been observed, supersymmetry, if it exists, must be a broken symmetry, allowing the superparticles to be heavier than the corresponding Standard Model particles.

http://en.wikipedia.org/wiki/Supersymmetry

"Stringstly is it forbidden by the honorary tenth commendmant to shall not bare full sweetness against a nighboor's wiles. --James Joyce, Finnegans Wake, pg.615.

Before the 1990s, string theorists believed there were five distinct superstring theories: open type I, closed type I, closed type IIA, closed type IIB, and the two flavors of heterotic string theory (SO(32) and E₈×E₈)^[15]. The thinking was that out of these five candidate theories, only one was the actual correct theory of everything, and that theory was the one whose low energy limit, with ten spacetime dimensions compactified down to four, matched the physics observed in our world today. It is now believed that this picture was incorrect and that the five superstring theories are connected to one another as if they are each a special case of some more fundamental theory (thought to be M-theory). These theories are related by transformations that are called dualities. If two theories are related by a duality transformation, it means that the first theory can be transformed in some way so that it ends up looking just like the second theory. The two theories are then said to be dual to one another under that kind of transformation. Put differently, the two theories are mathematically different descriptions of the same phenomena.
These dualities link quantities that were also thought to be separate. Large and small distance scales, as well as strong and weak coupling strengths, are quantities that have always marked very distinct limits of behavior of a physical system in both classical field theory and quantum particle physics. But strings can obscure the difference between large and small, strong and weak, and this is how these five very different theories end up being related. T-duality relates the large and small distance scales between string theories, whereas S-duality relates strong and weak coupling strengths between string theories. U-duality links T-duality and S-duality.

http://en.wikipedia.org/wiki/String_theory

"We may come, touch and go, from atoms to ifs but we're presurly destined to be odd's without ends" James Joyce, Finnegans Wake, pg. 455

A root system of rank r is a particular finite configuration of vectors, called roots, which span an r-dimensional Euclidean space and satisfy certain geometrical properties. In particular, the root system must be invariant under reflection through the hyperplane perpendicular to any root.
The E₈ root system is a rank 8 root system containing 240 root vectors spanning R⁸. It is irreducible in the sense that it cannot be built from root systems of smaller rank. All the root vectors in E₈ have the same length. It is convenient for many purposes to normalize them to have length √2.

http://en.wikipedia.org/wiki/E8_%28mathematics%29

"fluttered its secret on white highway and brown byway to the rose of the winds and the blew of the gaels, from archway to lattice and from black hand to pink ear --James Joyce, Finnegans Wake, pg. 43

The E₈ Lie group has applications in theoretical physics, in particular in string theory and supergravity. The group E₈×E₈ (the Cartesian product of two copies of E₈) serves as the gauge group of one of the two types of heterotic string and is one of two anomaly-free gauge groups that can be coupled to the N = 1 supergravity in 10 dimensions. E₈ is the U-duality group of supergravity on an eight-torus (in its split form).
One way to incorporate the standard model of particle physics into heterotic string theory is the symmetry breaking of E₈ to its maximal subalgebra SU(3)×E₆.
In 1982, Michael Freedman used the E₈ lattice to construct an example of a topological 4-manifold, the E₈ manifold, which has no smooth structure.
In February 2008, Garret Lisi published a particle physics theory based on the E₈ Lie group.^[1]. In March 2010, Jacques Distler and Skip Garibaldi of Emory University, published a paper that they believed was refuting Lisi's theory.^[2]
In 2010 it was reported that in an experiment with a cobalt-niobium crystal, under certain physical conditions the electron spins in it exhibited the symmetry of E₈.^[3]

http://en.wikipedia.org/wiki/E8_%28mathematics%29

My schemes into obeyance for This time has had to fall: they bit goodbyte to their thumb and, his bandol eer his solgier, dripdropdrap on pool or poldier, wishing the loff a falladelfian in the morning, proceeded with a €Hubbleforth slouch in his slips backwords (Et Cur Heli!) in the directions of the duff and demb institutions about ten or eleven hundred years lurch away in the moonshiny gorge of Patself on the Bach.
--James Joyce, Finnegans Wake, pg. 73

Examples and intuition

The most well-known example and the first one to be studied is the duality between Type IIB supergravity on AdS⁵ S⁵ (a product space of a five-dimensional Anti de Sitter space and a five-sphere) on one hand, and N = 4 supersymmetric Yang-Mills theory on the four-dimensional boundary of the Anti de Sitter space (either a flat four-dimensional spacetime R^3,1 or a three-sphere with time S³ R).^[22] This is known as the AdS/CFT correspondence, a name often used for Gauge / gravity duality in general.
This duality can be thought of as follows: suppose there is a spacetime with a gravitational source, for example an extremal black hole.^[23] When particles are far away from this source, they are described by closed strings (i.e. a gravitational theory, or usually supergravity). As the particles approach the gravitational source, they can still be described by closed strings; alternatively, they can be described by objects similar to QCD strings,^[24][25][26] which are made of gauge bosons (gluons) and other gauge theory degrees of freedom.^[27] So if one is able (in a decoupling limit) to describe the gravitational system as two separate regions — one (the bulk) far away from the source, and the other close to the source — then the latter region can also be described by a gauge theory on D-branes. This latter region (close to the source) is termed the near-horizon limit, since usually there is an event horizon around (or at) the gravitational source.

http://en.wikipedia.org/wiki/String_theory

-- Three quarks for Muster Mark! --James Joyce, Finnegans Wake, pg. 383.

A quark-gluon plasma (QGP) or quark soup^[1] is a phase of quantum chromodynamics (QCD) which exists at extremely high temperature and/or density. This phase consists of (almost) free quarks and gluons, which are several of the basic building blocks of matter. Experiments at CERN's Super Proton Synchrotron (SPS) first tried to create the QGP in the 1980s and 1990s: the results led CERN to announce indirect evidence for a "new state of matter"^[2] in 2000. Current experiments at Brookhaven National Laboratory's Relativistic Heavy Ion Collider (RHIC) are continuing this effort.^[3]
Although the results have yet to be independently verified as of February 2010, scientists at Brookhaven RHIC have tentatively claimed to have created a quark-gluon plasma with an approximate temperature of 4 trillion degrees Celsius.^[4]

http://en.wikipedia.org/wiki/Quark-gluon_plasma

"Antony Valentini is a British theoretical physicist. He was a student of Dennis Sciama. Valentini has been working on an extension of David Bohm's "ontological interpretation" of quantum theory that would allow "signal nonlocality" that is forbidden in orthodox quantum theory. "Signal nonlocality" allows nonlocal quantum entanglement to be used as a stand-alone communication channel without the need of a classical light-speed limited retarded signal to unlock the entangled message from the sender to the receiver. This would be a major revolution in physics and would possibly make the cosmic landscape string theory Popper falsifiable.

http://en.wikipedia.org/wiki/Antony_Valentini

Eins within a space and a wearywide space it wast ere wohned
a Mookse. The onesomeness wast alltolonely, archunsitslike,
broady oval, and a Mookse he would a walking go (My hood!
cries Antony Romeo) --James Joyce, Finnegans Wake, pg. 152

In theoretical physics, the Pilot Wave theory was the first known example of a hidden variable theory, presented by Louis de Broglie in 1927. Its more modern version, the Bohm interpretation, remains a controversial attempt to interpret quantum mechanics as a deterministic theory, avoiding troublesome notions such as instantaneous wavefunction collapse and the paradox of Schrödinger's cat.

http://en.wikipedia.org/wiki/Pilot-wave

"The Gariaev (Garyaev) group (1994)^[7] has proposed a theory of the Wave-based Genome where the DNA-wave functions as a Biocomputer. They suggest (1) that there are genetic "texts", similar to natural context-dependent texts in human language; (2) that the chromosome apparatus acts simultaneously both as a source and receiver of these genetic texts, respectively decoding and encoding them; (3) that the chromosome continuum acts like a dynamical holographic grating, which displays or transduces weak laser light and solitonic electro-acoustic fields.

The distribution of the character frequency in genetic texts is fractal, so the nucleotides of DNA molecules are able to form holographic pre-images of biostructures. This process of "reading and writing" the very matter of our being manifests from the genome's associative holographic memory in conjunction with its quantum nonlocality. Rapid transmission of genetic information and gene-expression unite the organism as holistic entity embedded in the larger Whole. The system works as a biocomputer—a wave biocomputer. Gariaev reports as of 2007 that this work in Russia is being actively suppressed. http://en.wikipedia.org/wiki/Holographic_paradigm

"No. 1132 or No. 1169, bis, Fitzmary Round where she was seen by many and widely liked) for teaching the Fatima Woman history of Fatimiliafamilias, repeating herself, on which purposeth of the spirit of nature as difinely developed in time by psadatepholomy, the past and present Johnny MacDougall speaking, give me trunks, miss!) and present and absent and past and present and perfect arma virumque romano. --James Joyce, Finnegans Wake, pg. 389.

"Penrose went on to consider what it was in the human brain that might not be driven by algorithms. The physical law is described by algorithms, so it was not easy for Penrose to come up with physical properties or processes that are not described by them. He was forced to look to quantum theory for a plausible candidate.
In quantum theory, the fundamental units, the quanta, are in some respects quite unlike objects that are encountered in the large scale world described by classical physics. When sufficiently isolated from the environment, they can be viewed as waves. However these are not the same as matter waves, such as waves in the sea. The quantum waves are essentially waves of probability, the varying probability of finding a particle at some specific position. (These probabilities apply to other states of the particle, such as its momentum, but for the sake of simplicity we will refer to position.) The peak of the wave indicates the location with maximum probability of a particle being found there. The different possible positions of the particle are referred to as superpositions or quantum superpositions. We are speaking here of the isolated form of the quanta. When the quanta are the subject of measurements or of interaction with the environment, the wave characteristic is lost, and a particle is found at a specific point. This change is commonly referred to as the collapse of the wave function.

http://en.wikipedia.org/wiki/Orch-OR

"holocryptogam, of my essenes, or carried of cloud from land of locust, in ouzel galley borne, I,
huddled til summone be the massproduct of teamwork --James Joyce, Finnegans Wake, pg. 389.

The holonomic brain theory, originated by psychologist Karl Pribram and initially developed in collaboration with physicist David Bohm, is a model for human cognition that is drastically different from conventionally accepted ideas: Pribram and Bohm posit a model of cognitive function as being guided by a matrix of neurological wave interference patterns situated temporally between holographic Gestalt perception and discrete, affective, quantum vectors derived from reward anticipation potentials.
Pribram was originally struck by the similarity of the hologram idea and Bohm's idea of the implicate order in physics, and contacted him for collaboration. In particular, the fact that information about an image point is distributed throughout the hologram, such that each piece of the hologram contains some information about the entire image, seemed suggestive to Pribram about how the brain could encode memories.^[1]. Pribram was encouraged in this line of speculation by the fact that DeValois and DeValois^[2] had found that "the spatial frequency encoding displayed by cells of the visual cortex was best described as a Fourier transform of the input pattern."^[3] This holographic idea led to the coining of the term "holonomic" to describe the idea in wider contexts than just holograms.

http://en.wikipedia.org/wiki/Holonomic_brain_theory

"Your genus its worldwide, your spacest sublime!
But, Holy Saltmartin, why can't you beat time?
In the name of the former and of the latter and of their
holocaust. Allmen. --James Joyce, Finnegans Wake, pg. 419.

Holographic data storage captures information using an optical interference pattern within a thick, photosensitive optical material. Light from a single laser beam is divided into two separate optical patterns of dark and light pixels. By adjusting the reference beam angle, wavelength, or media position, a multitude of holograms (theoretically, several thousand) can be stored on a single volume. The theoretical limits for the storage density of this technique is approximately several tens of Terabytes (1 terabyte = 1024 gigabytes) per cubic centimeter. In 2006, InPhase Technologies published a white paper reporting an achievement of 500 Gb/in². From this figure we can deduce that a regular disk (with 4 cm radius of writing area) could hold up to a maximum of 3895.6GB^{[clarification needed][2]}

http://en.wikipedia.org/wiki/Holographic_memory

"part so ptee does duty for the holos we soon grow to use of an
allforabit. Here (please to stoop) are selveran cued peteet peas of
quite a pecuniar interest inaslittle as they are the pellets that make
the tomtummy's pay roll. --James Joyce, Finnegans Wake, pg. 19

3D optical data storage is the term given to any form of optical data storage in which information can be recorded and/or read with three dimensional resolution (as opposed to the two dimensional resolution afforded, for example, by CD).
This innovation has the potential to provide terabyte-level mass storage on DVD-sized disks. Data recording and readback are achieved by focusing lasers within the medium. However, because of the volumetric nature of the data structure, the laser light must travel through other data points before it reaches the point where reading or recording is desired. Therefore, some kind of nonlinearity is required to ensure that these other data points do not interfere with the addressing of the desired point.
No commercial product based on 3D optical data storage has yet arrived on the mass market, although several companies are actively developing the technology and predict that it will become available by the end of 2010.

http://en.wikipedia.org/wiki/3D_optical_data_storage

Bleating Goad, it is the least of things, Eyeinstye! Imagine it, my deep dartry dullard! ---James Joyce, Finnegans Wake, pg. 305.

A de Sitter universe is a solution to Einstein's field equations of General Relativity which is named after Willem de Sitter. It models the universe as spatially flat and neglects ordinary matter, so the dynamics of the universe are dominated by the cosmological constant, thought to correspond to dark energy.

http://en.wikipedia.org/wiki/De_Sitter_universe

"her birthright pang that would split an atam" James Joyce, FW, pg. 333.

In mathematics and physics, n-dimensional de Sitter space, denoted

dS n

, is the Lorentzian analog of an n-sphere (with its canonical Riemannian metric). It is a maximally symmetric, Lorentzian manifold with constant positive curvature, and is simply-connected for n at least 3.
In the language of general relativity, de Sitter space is the maximally symmetric, vacuum solution of Einstein's field equation with a positive (repulsive) cosmological constant

Λ

(corresponding to a positive vacuum energy density and negative pressure). When n = 4, it is also a cosmological model for the physical universe; see de Sitter universe.
De Sitter space was discovered by Willem de Sitter, and independently by Tullio Levi-Civita (1917). More recently it has been considered as the setting for special relativity rather than using Minkowski space and such a formulation is called de Sitter relativity.

http://en.wikipedia.org/wiki/De_Sitter_space

Which route are they going? Why? Angell sitter or Amen Corner, Norwood's Southwalk or Euston Waste? The solvent man in his upper gambeson withnot a breth against him and the wee wiping womanahoussy. --James Joyce, Finnegans Wake, pg. 578.

In mathematical physics, de Sitter invariant special relativity is a speculative idea that the fundamental symmetry group of spacetime is that of de Sitter space. In the standard theory of General Relativity, de Sitter space is a highly symmetrical special vacuum solution, which requires a cosmological constant or the stress-energy of a constant scalar field to sustain. The idea of de Sitter invariant relativity is to require that the laws of physics are not fundamentally invariant under the Poincaré group of special relativity, but under the symmetry group of de Sitter space instead. With this assumption, empty space automatically has deSitter symmetry, and what would normally be called the cosmological constant in General Relativity becomes a fundamental dimensional parameter describing the symmetry structure of space-time.
First proposed by Luigi Fantappiè in 1954, the theory remained obscure until it was rediscovered in 1968 by Henri Bacry and Jean-Marc Lévy-Leblond. In 1972, Freeman Dyson popularized it as a hypothetical road by which mathematicians could have guessed part of the structure of General Relativity before it was discovered. ^[1] The discovery of the accelerating expansion of the universe has led to a revival of interest in deSitter invariant theories, in conjunction with other speculative proposals for new physics, like doubly special relativity.

http://en.wikipedia.org/wiki/De_Sitter_relativity

"O fortunous casualitas! Lefty takes the cherubcake while Rights cloves his hoof Darkies never done tug that coon out to play non-excretory, anti-sexuous, misoxenetic, gaasy pure, flesh and blood games --James Joyce, Finnegans Wake, pg. 175.

In physics, the AdS/CFT correspondence (anti-de-Sitter space/conformal field theory correspondence), sometimes called the Maldacena duality, is the conjectured equivalence between a string theory defined on one space, and a quantum field theory without gravity defined on the conformal boundary of this space, whose dimension is lower by one or more. The name suggests that the first space is the product of anti de Sitter space (AdS) with some closed manifold like sphere, orbifold, or noncommutative space, and that the quantum field theory is a conformal field theory (CFT).^[1]

An example is the duality between Type IIB string theory on AdS₅ × S⁵ space (a product of five dimensional AdS space with a five dimensional sphere) and a supersymmetric N=4 Yang-Mills gauge theory (which is a conformal field theory) on the 4-dimensional boundary of AdS₅. It is the most successful realization of the holographic principle, a speculative idea about quantum gravity originally proposed by Gerard 't Hooft and improved and promoted by Leonard Susskind.

http://en.wikipedia.org/wiki/AdS/CFT_correspondence

"And Jarl von Hoother had his baretholobruised heels drowned in his cellarmalt,
shaking warm hands with himself --James Joyce, Finnegans Wake, pg. 21

"Probabilistically checkable proofs give rise to many complexity classes depending on the number of queries required and the amount of randomness used. The class PCP[r(n),q(n)] refers to the set of decision problems that have probabilistically checkable proofs that can be verified in polynomial time using at most r(n) random bits and by reading at most q(n) bits of the proof. Unless specified otherwise, correct proofs should always be accepted, and incorrect proofs should be rejected with probability greater than 1/2. The PCP theorem, a major result in computational complexity theory, states that PCP[O(log n),O(1)] = NP.
The complexity class PCP is the class of decision problems that have probabilistically checkable proofs with completeness 1, soundness α < 1, randomness complexity O(log n) and query complexity O(1).^{[citation needed]}

http://en.wikipedia.org/wiki/Holographic_Proof

code's proof! The rebald danger with they who would bare whiteness against me I dismissem from the mind of good. He can tell such as story to the Twelfth Maligns --James Joyce, Finnegans Wake, pg. 364.

Pseudoscientific language comparison is a form of pseudoscience that has the objective of establishing historical associations between languages by naive postulations of similarities between them.

http://en.wikipedia.org/wiki/Pseudoscientific_language_comparison

"Our wholemole millwheeling vicociclometer, a tetradomational gazebocroticon (the "Mamma Lujah" known to every schoolboy scandaller, be he Matty, Marky, Lukey or John-aDonk), autokinatonetically preprovided with a clappercoupling smeltingworks exprogressive process, --James Joyce, Finnegans Wake, pg. 614.

The usage of the word "portmanteau" in this sense first appeared in Lewis Carroll's book Through the Looking-Glass (1871),^[1] in which Humpty Dumpty explains to Alice the coinage of the unusual words in Jabberwocky,^[8] where "slithy" means "lithe and slimy" and "mimsy" is "flimsy and miserable." Humpty Dumpty tries to justify his habit of changing the meaning of words and combining them in various ways by telling Alice,

http://en.wikipedia.org/wiki/Portmanteau

"Ope, Jack, and atem!--James Joyce, Finnegans Wake, pg. 459.

The basic type HPSG deals with is the sign. Words and phrases are two different subtypes of sign. A word has two features: [PHON] (the sound, the phonetic form) and [SYNSEM] (the syntactic and semantic information), both of which are split into subfeatures. Signs and rules are formalized as typed feature structures.

http://en.wikipedia.org/wiki/Head-driven_Phrase_Structure_Grammar

"rather let the whole ekumene universe belong to merry Hal and do whatever his Mary well ----James Joyce, Finnegans Wake, pg. 288.

Factual relativism is a mode of reasoning which extends relativism and subjectivism to factual matter and reason. In factual relativism the facts used to establish the truth or falsehood of any statement are understood to be relative to the perspective of those proving or falsifying the proposition.

http://en.wikipedia.org/wiki/Cognitive_relativism

"trying to undo with his teeth the knots made by his tongue, retelling humself by the math hour, long as he's brood reel of funnish ficts apout the shee --James Joyce, Finnegans Wake, pg. 288.

Semiotic information theory considers the information content of signs and expressions as it is conceived within the semiotic or sign-relational framework developed by Charles Sanders Peirce.

http://en.wikipedia.org/wiki/Semiotic_information_theory

"Tys Elvenland ! Teems of times and happy returns. The seim anew. Ordovico or viricordo. Anna was, Livia is, Plurabelle's to be. Northmen's thing made southfolk's place but howmulty plurators made eachone in person? --James Joyce, Finnegans Wake, pg. 215.

"Vico is often claimed to have inaugurated modern philosophy of history, although the expression is alien from Vico's text (Vico speaks of a "history of philosophy narrated philosophically").^[1] He is otherwise well-known for noting that verum esse ipsum factum ("true itself is fact" or "the true itself is made"), a proposition that has been read as an early instance of constructivist epistemology. http://en.wikipedia.org/wiki/Giambattista_Vico

"The Vico road goes round and round to meet where terms begin. Still onappealed to by the cycles and unappalled by the recoursers we feel all serene, never you fret, as regards our dutyful cask. --James Joyce, Finnegans Wake, pg. 452

Biosemiotics (from the Greek bios meaning "life" and semeion meaning "sign") is a growing field that studies the production, action and interpretation of signs in the biological realm. Biosemiotics attempts to integrate the findings of scientific biology and semiotics, representing a paradigmatic shift in the occidental scientific view of life, demonstrating that semiosis (sign process, including meaning and interpretation) is its immanent and intrinsic feature.

http://en.wikipedia.org/wiki/Biosemiotics

"Making mejical history all over the show! -- In sum, some hum? And other marrage feats? --James Joyce, Finnegans Wake, pg. 514.

"H. Aram Veeser, introducing an anthology of essays, The New Historicism (1989), noted some key assumptions that continually reappear in New Historicist discourse; they were:

that every expressive act is embedded in a network of material practices;
that every act of unmasking, critique and opposition uses the tools it condemns and risks falling prey to the practice it exposes;
that literary and non-literary "texts" circulate inseparably;
that no discourse, imaginative or archival, gives access to unchanging truths, nor expresses inalterable human nature;
that a critical method and a language adequate to describe culture under capitalism participate in the economy they describe.

http://en.wikipedia.org/wiki/New_historicism

"In Finnegans Wake Joyce made use not only of the ontological and epistemological implications of particle physics, but he also provided numerous allusions to specific elements of the subatomic realm that twentieth-century physics finally managed to uncover -http://duszenko.northern.edu/joyce/quanta.html

Idioglossia refers to an idiosyncratic language, one invented and spoken by only one or a very few people. Most often, idioglossia refers to the "private languages" of young children, especially twins. It is also known as cryptophasia, and commonly referred to as twin talk or twin speech. Children who are exposed to multiple languages from birth are also inclined to create idioglossias, but these languages usually disappear at a relatively early age, giving way to use of one or more of the languages introduced.

http://en.wikipedia.org/wiki/Idioglossia

"one Davy Browne-Nowlan, his heavenlaid twin, (this hambone dogpoet pseudoed himself under the hangname he gave himself of Bethgelert) --James Joyce, Finnegans Wake, pg. 177.

In literary criticism, stream of consciousness is a narrative mode that seeks to portray an individual's point of view by giving the written equivalent of the character's thought processes, either in a loose interior monologue, or in connection to his or her actions.

Stream-of-consciousness writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in syntax and punctuation that can make the prose difficult to follow. Stream of consciousness and interior monologue are distinguished from dramatic monologue, where the speaker is addressing an audience or a third person, and is used chiefly in poetry or drama. In stream of consciousness, the speaker's thought processes are more often depicted as overheard in the mind (or addressed to oneself); it is primarily a fictional device. The term was introduced to the field of literary studies from that of psychology, where it was coined by philosopher and psychologist William James.

http://en.wikipedia.org/wiki/Stream_of_consciousness_writing

Everyday, precious, while m'm'ry's leaves are falling deeply on my Jungfraud's Messongebook I will dream telepath posts dulcets on this isinglass stream --James Joyce, Finnegans Wake, pg. 460.

The phrase "stream of consciousness" (Pali; viññāna-sota) occurs in early Buddhist scriptures.^[1] The Yogachara school of Mahayana Buddhism developed the idea into a thorough theory of mind. Hammalawa Saddhatissa Mahathera writes: "There is no 'self' that stands at the mentality to which characteristics and events accrue and from which they fall away, leaving it intact at death. The stream of consciousness, flowing through many lives, is as changing as a stream of water. This is the anatta doctrine of Buddhism as concerns the individual being."^[3]

http://en.wikipedia.org/wiki/Stream_of_consciousness_%28psychology%29

"Now let the centuple celves of my egourge as Micholas de Cusack calls them, -- of all of whose I in my hereinafter of course by recourse demission me -- by the coincidance of their contraries reamalgamerge in that indentity --James Joyce, Finnegans Wake, pg. 49.

Juxtaposed by Steven Fly Agaric 23 Pratt
Amsterdam, April 23, 2010.

http://wordspore.blogspot.com/
http://ataleofatribe.blogspot.com/
http://soundcloud.com/flyagaric23
http://maybelogic.blogspot.com/
http://acrillic.blogspot.com/2009/05/nine-years-ago-in-sf-i-asked.html

Amsterdam Coral Reef By Janne Svensson

2010-04-07T13:23:00.000-07:00

Amber Case on HYPERBOLIC geometry and Threadonism.

2010-03-21T07:48:00.000-07:00

http://www.crunchbase.com/person/amber-case

HYPERBOLIC CORAL REEF UK TOUR

2010-02-20T18:31:00.000-08:00

Crochet project highlights plight of coral reef

As the reef tours, people are learning to crochet and adding their coral

A crochet coral reef, which is travelling around the country, has arrived in Colchester.

The UK Hyperbolic Reef is a large-scale artwork that consists of thousands of brightly coloured crocheted coral.

"It is all the beautiful colours that you imagine in a real coral reef when you see it underwater," said Judith Merrit, head of learning at firstsite.

"We want people to 'grow' this coral reef. The point is it doesn't just stay as a piece of artwork," she added.

"We're putting a challenge out there, we're asking the people in Colchester to join in."

'Hyperbolic' describes the technique used to make the crochet reef. It is the same process that causes coral reef to grow.

"How a coral reef grows in wavy lines is so how the crochet grows," said Judith.

"When you are doing this particular crochet you use a technique that makes it grow in that form."

Textile artist Gilly Burrell has been demonstrating the basics of crochet at events at firstsite in Short Wyre Street, Colchester.

Textile artist Gilly Burrell demonstrates the basics of crochet

"The lovely thing is it introduces the vocabulary of the process. It introduces mathematical concepts, you can look into the geography of it, the curved lines things like that," said Gilly.

To further highlight the importance of looking after the world's coral reef, some parts have been made out of recycled materials.

"I've made a piece out of video tape and clear plastic magazine covers cut into lengths and then crocheted," said Gilly.

http://www.firstsite.uk.net/

CHUNESE CUBED YEAR of the IRON TIGER

2010-02-11T03:12:00.000-08:00

"Chinese New Year's Eve is known as chú xī. It literally means "Year-pass Eve". --wiki/Chinese_new_year

I am thrilled CHU is work on a roject that connects with the ORIENT. Like the 'MONKEY: Journey to the West' MONKEY TRAIN that chu helped to decorate with Gorillaz' artist and friend Jamie Hewlett.

Chu is turning slightly chunese, temorarily, with his CHU CUBE launch in conjunction with a UK collective of artists coming together to celebrate the Chinee new year 2010 (The year of the IRON TIGER)

Jamies Hewlett more or less animated the Beijing Olympic Games by translating the great Chinese Classic of literature MONKEY: Journey to the WEST. I blogged extensively on MONKEY back in June 2007 when they had their Gorillaz' London theatre launch and before I had any idea Jamie would go on to animate the OLYMPIC GAMES in 08. A great shock when I saw the brilliant introduction on the TV screen in July 2008.

CHU takes on many possible meanings in Chinese, meaning that I have been studying for around six years, due in most part to my interest in the poet Ezra Pound and in particular his interest in the Chinese written character as medium for poetry.

I see a synchronicity in the fact that this TIGER BEER infused CHINESE NEW YEAR show throughout England, has been indexed and formulated around the ancient Oriental system of the five phases, five steps, or five the elements, a clever idea, and one I hope will continue after the New Year and play into the presentation of all five events when all the multimedia is collected and re-presented.

I already incorporated a similar system of elements, somewhat into my TURNTABLE METHOD where a new system enables DJ's to conduct textual mixing. Some of this system is described in the following excerpt from wikiedia describing the FIVE ELEMENTAL PHASES in the Chinese model, please visit these links to see my own further correspondences.

"Each direction is often identified with a color, and (at least in China) with a mythological creature of that color. Geographical or ethnic terms may contain the name of the color instead of the name of the corresponding direction.^[4]^[5] These traditions were also carried west by the westward migration of the Turkic peoples.

East: Green (青 "qīng" corresponds to green); Spring; Wood

Qingdao (Tsingtao) "Green Island": a city on the east coast of China

South: Red; Summer; Fire

Red River (Asia): south of China

Red Sea: south of Turkey

West: White; Autumn; Metal

White Sheep Turkmen

Ak Deniz "White Sea" in Turkish indicates the Sea of Marmara, the Aegean Sea, or the Mediterranean Sea

Belarus (literally "White Russia"), according to one of the theories is the name given to the Western Rus by the Mongols

North: Black; Winter; Water

Heilongjiang "Black Dragon River" province in Northeast China, also the Amur River

Black Sea: north of Turkey

Kara-Khitan Khanate

Center: Yellow; Earth

Mount Huang "Yellow Mountain" in central China

Golden Horde: "Central Army" of the Mongols" http://en.wikipedia.org/wiki/Cardinal_direction#Far_East

Between my own study of Chinese Ideogram, Oriental poetry, history, I-Ching and Magick I have come to appreciate these systems more each day I look deeper into them and incorporate them, tables of correspondences help me to build my ideas Ideas and tabulate them.

Maybe the synchronicity of the CHINESE NEW YEAR falling a holoiday some westerners still celebrate as 'Valentine's day', can give us understanding of the mathematical wonder and wisdom inherent in dates, times and synchronicity.

--Steve Fly

"The opening ceremony of the Summer Olympics in Beijing began on 8/8/08 at 8 seconds and 8 minutes past 8 pm (local time).
http://en.wikipedia.org/wiki/Numbers_in_Chinese_culture

"The value of eight could also be linked with buddhism and the meaning of Lotus flower (eight petals)."

"Losar (Tibetan: ལོ་གསར་; Wylie: lo-gsar; Chinese: 洛薩, Chinese: 洛萨) is the Tibetan word for "new year." Lo holds the semantic field "year, age"; sar holds the semantic field "new, fresh". Losar is the most important holiday in Tibet.^[1]

"The first year of the first drug-cu skor cycle started in 1024 AD. The cycles were counted by ordinal numbers, but the years within the cycles were never counted but referred to by special names. The structure of the drug-cu skor was as follows:

Each year is associated with an animal and an element, similar to the Chinese zodiac. Animals have the following order:

Hare	Dragon	Snake	Horse	Sheep	Ape	Bird	Dog	Pig	Mouse	Bull	Tiger

Elements have the following order:

Fire	Earth	Iron	Water	Wood

Each element is associated with two consecutive years, first in its male aspect, then in its female aspect. For example, a male Earth-Dragon year is followed by a female Earth-Snake year, then by a male Iron-Horse year. The sex may be omitted, as it can be inferred from the animal.
http://en.wikipedia.org/wiki/Tibetan_calendar

HALF A HUNDRED CHINESE IDEOGRAMS FOR CHU. BY FLY. (edited 2008 & 2010)

"It is not our job to say what our precursors ought to have done, but we can try to find out why they did it. –Ezra Pound, Typescript for a preliminary survey. (1951)

“EZRA POUND’S CHINESE FRIENDS, edited and annotated by Zhaoming Qian" rekindled my interest in the IDEOGRAMIC METHOD, a method originally introduced to me by Dr. Robert Anton Wilson during his on-line 8 week class entitled: The Ideogramic Method.(2004)

Some may win a Nobel prize for translation and copying, others might end up confined to a detension centre. Does translation equal treason? Instant poetry? Magick?

Qian’s book consists of letters between EZ and some of his Chinese friends, Qian also includes the APPENDIX 'Typescript for a preliminary survey. (1951).' This introduction, overview, explication and detailed essay of correspondances, concerns the Chinese Written characters almost entirely. Some good writing about pictures, and often instant POETRY by translation.

I started the on-line class with Dr. Wilson in 2004 while still living in New Orleans, Louisiana, and soon noticed that my good friend CHU (CHU 51) was already a part of the class, synchronistically, to me, because of all the various CHU’ ideograms to be found within Pound’s poem “The Cantos”.

That book was a corner stone of the TTOTT course work and assignments at the Maybelogic Academy. Many different references to CHU can be found in Pound's CANTOS (CH’U, CHOU, CHO, CHUNG, CHUE, CHIANG, CHÜ, etc.)

Four years later, published in the Appendix of Zhoaming's book (2008), are a comprehensive study of the CH’ ideograms and correspondingly CHU ideograms from the Chinese written language. A huge help and fascinating system of translation.

The feeling of synchronicity whenever I encountered CHU in Pound's Cantos spooked me out since starting to read Pound's Epic, I confess, but now with this helpful translation of CH' ideograms by Ezra Pound himself, I can better extract sufficient information to begin to UNIFY the ancient Chinese written language with some of the newer western traditions. And what better place to start than with CHU 51.

With a basis rooted in the historical transfer of the Ernest Fenollosa Dossier' called 'The Chinese Written Character as a Medium for Poetry' from his widow: Mary McNeil Fenollosa, to Ezra Pound, and William Butler Yeats, Pound's room mate in London, and so to the rest of the world by artistic osmosis into the 20th and 21st centuries, modernism, post-modernism, etc.

I hold a special focus on CHU's stereoscopic anaglyphic GRAFFITI, as one way of describing what and how my friend CHU communicates, paying particular attention to sign, symbol, word, picture, idea, gramar, logic and rhetoric. Themes often overlooked in Graffiti culture, that I feel help to distinguish the social uses of language from the political abuses and unfair corporate bias.

I will be modifying the ideograms and updating them as I perfect my own understandings and calligraphic writing skills.

ITALICS and BOLD are added to the following quote for extra accent!

(Excerpt from APPENDIX Ezra Pound's Typescript for "Preliminary Survey" (1951)

Starting in the midst of the CH sounds we find
CHAO out of 20 we have six knives (let us say bright knife blades) 2 claws and one lance. Chao, omen (dots seperated by something listed as legs rad/ not under pa); summon (cutting voice)
ideogram chao or hua, search, paddle, to oar, beckon (hand plus knife-blade voice) bright (sun blade); dawn (whence ch'ao court, a.m attendance at court etc.)
enlighten, etc. fiery gla[n]ce, summons.
claws: bamboo claw, a skimmer or ladle.
basket for catching fish (to claw fish, seems unlikely, and the sign is more probably allied to cho or chao to cover).
first, begin[n]ing, Chu (or chao) clear, bright.
announcer, edict
hasten to visit, pierce
We have clear indication of the root meaning to cut, and slight possibility of combination with AO (to examine later) in CH'AO
eleven rather uninteresting ideograms, 4 containing shao (few) and three nest. Nest with knife, attack; idem with strength, toil at, fag; quarrel; ridicule (court voice); seize, take ladle out (vide chao, ladle) fray, slight epidemic, ch'ao or chao paper money." --(Page 208-209)

"CHO 17 uniformally expressing the idea: to lay hold of with the ictogram whowing what does or is done to, no connection with CH verbs be at, or cut [ ]
CHOU
The great dynastic name, given as verb: provide, extend, make a circuit, adjective: enough, close secret; bend, revolution, circumference. Certainly associated with the idea of motion.

19 ideograms in a multilated copy of Tsang picture as with grass indication: wrinkles mostly what lies close together, and in some cases what revolves. On the whole it seems to belong to our CH locative. Various CH’OU can be associated with the CH cut idea without great strain, and by ref/ to the pictograms. The first CH’O to stab, is a clear case.
CHU, to go out of
THE GREAT GENERATIVE, root of a tree lying
above ground, BAMBOO (the radical)
A half hundred ideograms in the CHU list, a rule, a lord, to halt to go out of, several of them clearly indication: origin, others baffling till we come to the clue in the 14th. “root of a tree lying above ground,” that picture unites the heteroclite for the eye. The bamboo radical indicates a particular result or root, something from which a thing goes, or on which it stays, a SOURCE. This CHU is definitely of the locative verb.
As with WEI, leather, we have apparently heteroclite meanings.
We have also in our own language traces of similar not-ambiguities. To hide, conceal, to give hiding. The leather curtain, the lash, the thong that binds, the showing a whip to a dog to produce respect or fear. So with the 32nd CHU, beat down, build erect, flap, the picture is dulcimer (bamboo radical) over a tree. The ambiguity of up, down, flap, and all equal to verb “y to bamboo,” i.e to do what the bamboo does or is under for. The “dulcimer” includes “work” and sign (i shd/ say for motion) that has no defined meaning as a seperate ideogram. 41. punish, eradicate
CHU 2
We root in the ground to root up, and we are said to be rooted when we stop and stand firm.
The CHU list is too long to reproduce here, but the earnest readers can enjoy himself with it if he be so minded.
In tracing our CH conjugation we may even end with the idea that to “be at” or move, and to CUT have something in common. We “cut along.” We depart, part and split. The ax makes a clean cut and seperates. An active and an intransitive CH are not inconceivable.
CHÜ, with the umlaut is not going to fit very neatly into scheme so far outlined. We find however a carpenter’s square, utensil, arrange. If CHÜ (umlaut) enters our scheme at all it must be pre-it must have to do with preparation. Someone else must determine whether the cauldron preceded the altar. In the boiled sacrifice thay are the same. An element which Tsang gives as meaning: great, huge, combines with arrow sign to make the carpenter’s square. A saw is found lower in the list, also some saw tooth mountains. The saw may be ONOMATOPOEIC.
I leave CHÜ with judgement suspended.
CHÜ However does seem, in 24 ideograms fairly consistent in indication either preparation or unpreparedness, the preparation distinguished in the pictograms to show whether the preparation is in the cook house or the field, or by the pestle, for unprepared perhaps i shd/ write irresolute, hesitant (feet rad/). Both CHÜ and CH’Ü umlaut seem heteroclite, all one can observe is that if the groups seem without nexus, the individual words also seem without very comprehensible centre to their divergent meaning ascribed to them singly. Whether one shd/ postulate various lost terminal consonants, and leakages of meaning from other groups i do not know i see nothing here help to help define the CH verb.
CHUAN however seems fairly consistently to include the idea of turn, indicated definitely in 5 out of 13 ideograms, and for the most part directly relatable to either the CH of motion or of cutting.
Most of the 13 CH’UAN are clearly “connect” with pictogram of what (string, stream, beam) with a couple of violent exceptions, possibly emphasized chu’an, chu(boat) ang.
CHÜAN and CH’ÜANG [umlaut], the first fairly heteroclite, the second definitely indicating curvature which is also indicated in the pictograms, two of 12 CHÜAN and 6 of 11 CHÜAN (small circle, wriggle of snake)
CHUANG, CH’UANG, idea of weight, strength, bed is frequent.
CHUE, CHUEH, CHUEH (umlaut) CH’UEH (umlaut), this suffix EH is the latin ex, horn projection, husk
The chue is ambiguous in sound, but the pictogram contains “out of.”
CHÜEN and CHÜEN connect with the CHÜAN and CH’ÜAN.
CHUI
CHUI tempts to several false analogies: how do we connect sew, beat, hammer and awl?
I think the clue is in the simple radical for short tailed bird. The bird has a sharp beak and pecks, some hammers look not unlike certain birds. The thread and four stitches is the pictorial explanation of what happens with that particular piercing. Clay walls are hammered together but i do not think this is the primary association between the divergent senses of the sound chui.
CHUI belongs in the leather and root class. The verbal sense carries over quite clearly into at least three ch’ui: to beat, and two kinds of mallet, differentiated in ideogram.
The CHUN and CH’UN groups (lips and spring) are independent and extraneous from our locative or cut conjugations but CHÜN umlaut has clear indication of place above, latin super or altus, as with the water ad/ seep sea, italian mare alto. The third chun, even, equal must be taken as “level up to” and chun water level or plumb-line is wd/ say its relation. The verbal sense of the 15th chun can only be traced thru its noun, hornless deer (bind, seize, collect). But superior, ruler, high (with mountain rad/) etc. belong, i shd/ say without question to our verb CH.
CH’UN (umlaut) might be scattered were it not for the graphic signs. Grain heaped in an enclosure; the chief place above the sheep; the dress on the noble; granary, flock, and skirt for a lady.
CHUNG we have already located as the perpendicular axis potently locative, the weight that draws to the center, with ch’ung.
The single CH’OU is an eloquent picture of grind with the teeth (teeth and foot), and augur to bore a hole.
Let us now return to our omitted CH forms
CHE' circumflex, 19 ideograms
1. wise (hand, ax, mouth) clear cut, know intuitively cutting clean into.
the sense of cut (CH) is clear in a number of cases, in others the ictogram indicates the primitive associations with cutting (five axes, a knife). The wagon rad/ is given two sounds che' and CHÜ umlaut, and the ideograms with two signs assigned them always raise doubts. –Ezra Pound, APPENDIX (1951), EZRA POUND’S CHINESE FRIENDS, ZHOAMING QIAN 2008. OXFORD UNIVERSITY PRESS. (Pages 213-215)

I will add ten wiki links I feel are helpful to any on-going study to build bridges between the Orient and Occident, somewhat independently, and by way of poetry, painting and Magick.

"The umlaut is a diacritic consisting of a pair of dots or lines placed over a letter. A very similar diacritic is the diaeresis or trema. When the vowel is an i, the diacritic replaces the tittle. The two diacritics are very similar in appearance, and the distinction between them is not always made. “Umlaut” is a German word roughly meaning “changed sound” or “altered sound”–wiki/umlaut.

The Chinese written character as a medium for poetry
By Ernest Francisco Fenollosa, Ezra Pound

The classic Noh theatre of Japan
By Ernest Francisco Fenollosa, Ezra Pound

CHU HYPERCUBE AND HOLOSTHESIA 2010

2010-02-05T15:43:00.000-08:00

PLEASE VISIT CHU OVER AT SCHUDIO.CO.UK/BLOG

http://www.schudio.co.uk/blog/2010/3d-cube-tiger-beer-lucky-8/

| posted on Jan 22 2010

360, birmingham, cube, edding, graffiti, inside, tiger beer

360, Installations, News, Shows

Some of you may remember the cube I made, from last year. Version 1.2 is being built in a few weeks time.

In Birmingham.

This new cube will have a 3D interior, that you view through a pair of 3D glasses, as part of the Tiger Beer Lucky 8 campaign to celebrate Chinese New Year. The number 8 is considered to be a lucky charm in China, and the cube has 8 corners.

As you stand on the Sweet Spot within the cube and wear the glasses, the corners and joins will vanish out of sight, creating an illusion never witnessed before. Its the accumulation of a few techniques that I’ve been working with for some years and it was the next logical progression for my Cubic experiments. Recently an edition of only 33 prints of my new sketch ‘Cover Your Tracks’ was released in 3D too.

3D CUBE v1.2

Launch 15th February 2010 and showing for only 1 week at:

Boxxed, 104-105 Floodgate Street, Digbeth Birmingham B5 5SR.

(vistors to the 51 Degrees exhibition or the Line Steppers group show will be comforted to know its the same venue!)

(3D glasses supplied)

FLY AGARIC ADDS SOME TEXTUAL CONTEXTUAL INFO:

MARK PESCE
The primary quality of any electric medium is its inherent electroplasticity, that is, its ability to construct a range of perceivable effects. The telegraph has a binary electroplasticity, dit and dah, whereas High-Definition Television has an exceptionally broad range of possible effects. As is natural in any technological evolution, electric media have tended toward a greater range of effects, or greater electroplasticity, through time.

Roughly a decade ago, major research began on media which are both highly electroplastic and designed to produce holosthesia. This word, coined by Martens[2] has its roots in the Greek holos (whole) and aisthesia (to feel or perceive), and describes any medium which produces the perception of an event through several (or all) sensory modalities in a self-consistent manner. Immersive technologies such as virtual reality fall into this class of electroplastic media. The fundamental intent of virtual reality is to produce in the observer the perception of an event as if it had occurred in the physical world. Holosthesia is the necessary component of such a form of synthetic perception. Cyberspace, at the union of the holosthetic technology of virtual reality and communications technology can create a shared holosthetic experience.[3] It is nowhere implied that this experience will be safe.

This is an important point, if only for the following reason; within twelve months, hundreds of thousands of children will be experimenting, on a daily basis, with a highly holosthetic medium. Experimenting is the operative word; within a few days more hours will be logged inside virtual environments by these children than has been amassed by the scientific community over a decade of research. Furthermore, as our tools and technology evolve beyond their current and primitive state, our ability to orchestrate holosthetic experience will be similarly extended, and this too raises questions: not of what is possible, but rather, what is safe. For this reason, this paper will directly address the issue of safety within holosthetic environments, particularly with respect to cyberspace.

Having participated in the design and implementation of one of these "Home VR" systems (Sega Virtua VR), the author has come to a realization which relates to all research work thus far performed in the field of holosthetic technology; while careful attention has been paid to the biological aspects of such systems, to prevent adverse physiological effects, very little research or design work has been conducted on the ontological or mythological content presented by these devices. Yet these aspects are fundamental to the devices themselves; the creation of a world necessarily implies the creation of a world-view. Geoffrey Hill, in Illuminating Shadows: The Mythic Power of Film discusses cinema, the most holosthetic of our current media, in the context of mythology.
The cinema has become to the modern world the
collective cathedral of primitive participation mystique.
It is the tribal dream house of modern
civilization...Indeed, the cinema is the theater of life, the
screen of human existence casting illuminating shadows
onto the wall of tribal participation...If Marshall McLuhan
is correct in arguing that each of our media is an
extension of ourselves, and that the medium is the
message, then his argument would support the contention
that film is but an extension of our most inner and
ancient consciousness...The dark cavern of the cinema is
reminiscent of a ceremonial sweat lodge, an initiation pit,
the dark night of the soul, the belly of the fish, the
alechemical grave, or the wilderness of the night
journey...It is the baptismal font where our skepticism is
drowned in the motherly sea of awe and wonder.[4]
If these statements are true of cinema, how much more so for immersive technologies, which, beyond providing a space for the "suspension of disbelief", bind the participant to the mythology through interaction within the mythos? Cinema is the passive viewing of a mythology, cyberspace the active participation within a space that is essentially mythic. This phenomenon, although an everyday occurrence within aboriginal and "primitive" societies, is unprecedented in rational "Western" civilization. Thus far this technological development has been an unconscious enterprise, directed primarily toward entertainment, but always containing a mythic thread.

This paper, then, contains two threads, one scientific and one ontological or mythic. Like the works of William Irwin Thomson, the author will suggest the existence of a continuity between these aspects; each helps to create and sustain a particular configuration of the other.
The scientist tries to examine the "real" nature of
the photograph; he tries to get away from psychological
configuration, the meaning of image, to move down to
some other, more basic level of patterns of alternating
dots of light and dark, a world of elementary particles.
And yet what does he find there but another mental
configuration, another arrangement of psychological
meaning?  If he persists in this direction long enough, the
mythological dimensions of science will become apparent
in his work, as they would if he had asked questions
about the meaning of sunlight rather than questions
about the behavior of photons.
    Science wrought to its uttermost becomes
myth...But what is myth that it returns to mind even
when we would most escape it?
    Forms of knowledge change as society changes.
Sometimes these changes are small and incremental; at
other times the changes are transformations of the
structures of knowledge and not merely the contents...But
this movement is not simply a linear and one-directional
shift toward increasing rationalization and
demystification; when the rational historian has come in
to take away authority from the mystical and tribal bard,
the artist has returned to create new forms of expression

to resacralize, re-enchant, remythologize.[5]

HYPERCUBE

2010-01-29T12:09:00.000-08:00

http://en.wikipedia.org/wiki/Hypercubes

http://en.wikipedia.org/wiki/Synergetics_coordinates

SHARE THIS COURSE & THEN SHARE THIS BOOK

2009-12-01T18:32:00.000-08:00

Share This Course.

Hi folks, I’m currently collaborating with a small but growing group of web critters led by Mark Pesce, but he's not the leader really, we are a unique decentralized community, which will lead, good willing to the manifestation of a book! scheduled for completion in 2010 and loosly based around the emerging hyperintelligence and 'hyperpeople' as defined by Mark Pesce and approximated as sharing.

As sharing is the core of – share this course & share this book – the group have recently alerted me by example to a slight change in direction to just posting at the blog, that has encouraged me here to start sharing some of our work so far, and spreading the new sharing meme, now, in early December 2009.

My position so far, inspired by the cooking and ingredients analogy with the group-course blog space, is like that of a particular individual ingredient scattered around the kitchen area, or up on a shelf somewhere waiting to be combined, or grated a little, boiled, skinned, fried, charbroiled, roasted, toasted and finally with a bit of luck, served-up with a huge healthy spread of exotic delicacies and shared wisdom, enough to feed all humanity.

I’ve been sharing my vision of a new investigation into the historical figures that I think have influenced sharing and the technology of sharing that produced great contributions to all-around-the-world-Humanity, and as a nod to the MLA and the smart tribe of critters that createdits own collective hyper-intelligence, if you like. I choose to focus on the twelve individuals introduced to us by Dr. Robert Anton Wilson, as the characters who helped shape the - decentralized sharing age -, or simply the 21st century. We can learn from the past efforts to share, and from them create a new historical framework of sharing, one reaching 420 years back to Giordano Bruno and pulling us right up to Marshall McLuhan.

These characters present a great challenge to anybody who has read one or two books or articles by them, no doubt, BOB aspired to keep us busy for the next 50 years with the fields of research and study he wet our mind-lips with. These ideas are pretty complex ideas and come from complex individuals of explicit genius, difficult to approach and shrouded in mystery, this maybe especially true to somebody who has relatively little experience in academic circles, like myself, where much of the solid foundations of this new historical - hyperintelligent tribe – lie, please don't mistake my intellectual pursuits of 'The Tale of the Tribe' as representative of what I think - Share this book - should be about. Not at all. I view this angle of approach as more concerned with - share this course - or the creation of a hyperintelligence, unbounded and access-able and - sharable - by anyone who can access the WWW.

With the power of Internet and the rise of hypersharing culture (hyperdistribution, hyperconnectivity, hyperbolic Geometry) and with the aid of new tools, many minds can congregate together and work quickly, efficiently and humanely, and my ego-drive hope is that others may soon join us in this collective adventure of sharing - sharing - and maybe a few critters will find enough time to follow my historical investigation into the people and ideas that helped to shape intelligent internet and create another alternative guide to sharing - free as the air you breath, and for all-around-the-world-humanity, or as close to the model correlated by Dr. Wilson, a life-long intellectual pursuit but one which I hope will add some spice and sugar to some of the more practical data due to be shared on the course and eventually in the book.

At the blog you'll discover different sharing activity and feedback defining sharing, and you’ll probably find items more to your own fancy, whoever you are. And, if you don’t find anything interesting at the blog then maybe search youtube for Mark Pesce and listen to his hyperflow motion languaging.

The following text was prepared by an intelligence calling itself gregorym(tm), over at the blog, I think it helps define the course and a little about what's happening over there, and - how to get involved. Thanks Greg, and Mark, and all the other posters who are providing the high quality content over at the blog.

As a group, we believe that sharing is going to dominate our future as content creators (and as users of the Internet, we are ALL content creators) and that recent innovations like Google Wave and co-presence are going to create an unprecedented era of sharing. What does all this sharing mean for us, right now, individually and collectively?

...The way this works is this – go to the URL. There’s a number of blo posts (maybe thirty) dating back to the start of the project on November the 18th. Click around. Read a little. Post a bit. Share. And when you’re done sharing, click the box that says you want to be informed by email of new comments to what you’ve posted and let’s begin a dialogue about all this stuff.

If you like what you’re seeing – Share This Invite. Just pass it right along, or write your own invite about what Sharing means to you. Here are just a few of the articles that have posted so far:

What is a Book? by Mark Pesce.
Mark Pesce on SHARING in 2009

DR. MARSHMALLOW CUBICLE. Live in Amsterdam 24/11.

2009-11-09T20:06:00.000-08:00

http://www.cafe-belgique.nl/

http://myspace.com/flyagaric23

http://www.myspace.com/vinzentpp

http://www.schudio.co.uk/blog/

SoundCloud group SHARE THIS TRACK

2009-11-09T13:34:00.001-08:00

SHARE THIS TRACK

AMSTERDAM'S HYPERBOLIC CORAL REEFA'

2009-09-22T16:45:00.000-07:00

Some new pictures of the hyperbolic pieces.

THREADONISM BRACELETS (Soft Wavelets)

2009-09-22T05:40:00.000-07:00

Handycrafts and craft in hands, bracelets by Janne.

Soft Wave patterns + Local Exchange Trade Systems (Wave-L.E.T.S)

THREADONISM NECK-LACES (LATTICE WORK)

2009-09-22T04:54:00.000-07:00

Only minutes ago I snapped some pictures of some THREADONISM handycrafts, designed, hand-crafted and modelled by Janne. I feel that the interaction of hyperbolic objects with the human body is an important one, having the evidence - with you and on you - whenever you please. This interaction with the body is explored with jewellry, clothing, bracelets, necklaces, ear-rings etc. A kind of yarnbomb on the body, extending the possibility for communication of THREADONISM and some hyperbolic signifiers.

I can't help but notice the similarity between some coral and some flowers when looking at these images; the spiral contour of the threads, the soft tone and fluffy topology - perceived by the eye and the body, to touch with the hand and follow the threads, to - feel - the shapes and surfaces. This kind of interaction with threads, knots, patterns and shapes might be considered alongside the practice of yarnboming in the urban - mostly non-fabric coated - environment.

To entice the mind to reach out and touch, and to provide a tactile interface with the hyperbolic. non-euclidean models - left out there, somewhere in the city - for an accidental meeting with a remarkable stranger. (Which brings me to a short story I am writing about a group of radical all-female group of yarnbombers who take over a small city and transform it into a Temporary Autonomous Zone, where Objects are not what they appear to be, and the rationality and logic built around the new non-euclidean, non-aristotelian, synergetic principles of this group - weave together a Utopian society, for a brief period of time. I digress.)

And Please, if you would like to purchase any of these items they will be available from www.threadonism.com (or contact janne420 @ live.nl) -- Steve Fly

CHU CUBE RENDERED FOR HYPERBOLIC HEADS

2009-09-15T07:16:00.000-07:00

The artist CHU kindly rendered images of his CUBE into fold-friendly images for me to experiment with. The results are breath taking. A huge and broad mulit-media installation space!

The chube is a room, 4 walls, a ceiling and a floor, and after decorating and chuscaping these numbers flux-chuate' depending upon where you are, where you are looking from in space/time. The form of the cube seems to be related to the average height of a humans eye technology so that distortions and 'impossible objects' can formulate in the spaces, using that eye-brain-data as a starting point. --fly.

http://www.schudio.co.uk/blog/2009/the-final-cube-in-case-you-missed-it/

The content of CHUBE are further scenario universes from the "rise of the audio components", hooking themselves into and plugging out-of the giant alphabetical words matrix: "ITS NOT BIG AND ITS NOT CLEVER." Icons of electronic culture, remix culture and audio engineering anarchis tracks, turntables, tape-loops and speakers on the loose, chased down urban pathways by cables through spherical cityscapes, chased by phantom power-leads and microphone jackers too. The electric word split as atom, electrified, the words rise and the machines whur' in a great torrent of seeing. In the cube I see no nouns, I only see verbs. - fly.

http://www.schudio.co.uk/blog/2009/images-from-the-cube/

"Complimenting the holistic systems approach, a novel spherical metaphor for multi-dimensional data visualization on the Geoscope shall be developed using PROCESSING open source programming language (www.processing.org). A spherical metaphor, or to coin a term “Spheriphor,” addresses the need for displaying data that is not necessarily geo-referenced. - http://challenge.bfi.org

THREADONISM AMSTERDAM HYPERBOLIC CROCHET.

2009-09-15T06:24:00.001-07:00

Old wire strings threaded, Cotton threaded, Maze, pea vine And air music--Threaded into a Delta Frog Chorus. The commodity culture snakes in their fancy lear jet-planes, with their red-whisky snarl, sitting in a silver rimmed black leather chair Signing-up entertainment. The commodity culture snakes set ambush...waiting for their steer to get plump. --SHANNANIGUMS WAVE.

From THREADONISM

In mathematics, the hyperbolic functions are analogs of the ordinary trigonometric, or circular, functions. The basic hyperbolic functions are the hyperbolic sine "sinh", and the hyperbolic cosine "cosh", from which are derived the hyperbolic tangent "tanh", etc., in analogy to the derived trigonometric functions. The inverse hyperbolic functions are the area hyperbolic sine "arsinh" (also called "asinh", or sometimes by the misnomer of "arcsinh") and so on. - http://en.wikipedia.org/wiki/Hyperbolic_function

From THREADONISM

Just as the points (cos t, sin t) form a circle with a unit radius, the points (cosh t, sinh t) form the right half of the equilateral hyperbola. Hyperbolic functions occur in the solutions of some important linear differential equations, for example the equation defining a catenary, and Laplace's equation in Cartesian coordinates. The latter is important in many areas of physics, including electromagnetic theory, heat transfer, fluid dynamics, and special relativity. - http://en.wikipedia.org/wiki/Hyperbolic_function

From THREADONISM

Unravelling the lost lungwaj of tyme traveling shemanism. Vine looking threadlocks require keys to the doors to eternity, The sacred mushroom, please dont get croxx. Imminent CHANGE. ART and one silk smooth, purpose. Painting formula MULTI Storytelling set IN TRAFFIC JAMS. Writing deals BETWEEN SHOPS Prose BIG LIKE ROCKET SHIPS IN THE Sunlight F.A.T. Alto Experiment AND NEW SPRAYK --SHANNANIGUMS WAVE.

From THREADONISM

In mathematics, hyperbolic geometry (also called Lobachevskian geometry or Bolyai-Lobachevskian geometry) is a non-Euclidean geometry, meaning that the parallel postulate of Euclidean geometry is replaced. The parallel postulate in Euclidean geometry is equivalent to the statement that, in two dimensional space, for any given line l and point P not on l, there is exactly one line through P that does not intersect l; i.e., that is parallel to l. In hyperbolic geometry there are at least two distinct lines through P which do not intersect l, so the parallel postulate is false. Models have been constructed within Euclidean geometry that obey the axioms of hyperbolic geometry, thus proving that the parallel postulate is independent of the other postulates of Euclid. - http://en.wikipedia.org/wiki/Hyperbolic_geometry

From THREADONISM

waking to this thread; black and white and half read mostly over and over. Bright technicolor model dreams: dreamramblecoat macintosh candy arms, jelly legs, oak moss malting in the Horus blaze of Orange Sun-juice. Threaded with Golden delight, a soft and fluffy jacket of arms. Hemp. Nip it, slap it like stand up bass. Rhyme in the mud from the forests and the waterfall i rite rota DNA Sono-ropes for Eris, Wholly chao! Nine's crossed. --SHANNANIGUMS WAVE. BY FLY AGARIC 23.

String Theory, Wool what do you know of interknit?

2009-09-15T04:51:00.000-07:00

Yes, of course - STRING THEORY - That more or less turned the world of particles into particle/strings that then VIBRATE to also correlate with WAVES, i guess, making some sense of the particle/wave duality, and at the same time unifying music, vibrational physics and art. (Such as Crochet, knitting, weaving and knotting, all using STRINGS).

I once spent an afternoon with a physcist who explained to me in more detail about how Strings and string theory tie in with the Unified Field Theory's, quantum mechanics and...relativity. If you can stay with me I hope to show how HYPERBOLIC CROCHET deployed within an urban environment comes close to providing a unified field theory for deployment on the street corner, street, billboard, in short fruits for the concrete jungle. Soft to touch and squashable, and providing stress-relief - HYPERBOLIC CROCHET OBJECTS - or STRING STRUCTURES made following a relatively simple DESIGN PATTERN, can spark the HYPERBOLIC wheels in humanity and spin the great spiral cobwebs into the environment.

"FLY: One of the things i found really interesting in the work of Buckminster Fuller was the isotropic vector, (Vector equilibrium you mean?) yeah... i'm looking for relationships between the superstrings and Bucky's work...

SAUL: The vector equalibrium is an object that has 12 vertices, ok, and actually that object, is one of these crystallographic objects, in fact that crystallographic object exists exactly in what i call the reflection space, or you could call it a crystallographic space of the SU(4) group. OK, and in fact of course; those 12 vertices actually correspond to what we call; eigen values of the S4 group which correspond to what we call the gauge particles, or the force particles. You see; there's two types groups of particles in quantum theory these force particles and matter particles. One of the fundamental ideas in particle theory is that matter particles interact by exchanging force particles, and mathematically the way that works is that in these gauge group structures you have two different types of crystallographic structure, you have the matter c.s and the force c.s, and in the case of SU(4) the matter crystallographic structures are like tetrathedra, you have two tetrahedra making a cube and those exactly correspond to the eigen values of the quarks and anti-quarks, and the electrons and the neutrinos. OK. So those are all matter particles, but then there are actually 15 force particles involved because SU4 is a 15 dimensional group but 3 of the force particles have zero eigen values, and 12 of them have none zero eigen values and those eigen values exactly correspond to the vertices of what Bucky fuller calls the vector equilibrium. So that object is being used but in a totally different way to what he thought of it.

Fly Agaric: yeah. (North Beach, San Francisco, 27/05/2000

hot rebirth BANG. GU©T: to merge gravity situations with the Trinification of (lang)gauge symmetrees, GROWN into a Grit Unifie(l)d ©oins℗i®acy Theory of Neverytongue. Higher Crane Everywire. -- SHANNANIGUMS WAVE.

FLY: [Can you give me a description of LAWCAP?]

RAW: Oh, that's a term coined by Buckminster Fuller for Lawyer-run capitalism, he thinks that the attempts to control Capitalism by passing laws has turned control of the corporations over to their Lawyers whose job it is to tell them how they can rob as much as they want without breaking the law technically, and if they do break the law what kind of defence to mount against any prosecution. Lawyers are really running the system, and considering the low opinion everybody has about lawyers that's more terrifying than any other conspiracy theory - like the Jewish conspiracy, I'm not afraid of Jews, all the Jews I know are very nice people, the Jesuit conspiracy - well it's a little frightening but I met a lot of good Jesuits too, the freemasonic conspiracy; every freemason I know I like, but the idea of a lawyer conspiracy! Really, those bastards are capable of anything. And thus when you've got to argue both sides of any case, that's very good education if your gonna be a philosopher, but it's not a good education for anybody who's gonna have any power over other people, cuz whatever they wanna prove they can prove it to themselves anyway. They can make a pretty good argument in most cases, that's what legal training is all about. "NO, my defendant did not set fire to the building he was merely smoking in the hay barn." That wasn't a very good example, sorry.

Fly Agaric with Robert Anton Wilson. Sep 10th, 2002. Santa Cruz, CA.

"Unified. Undefined interknot of tings and bleeps. Popping candy on the tongue. Habitat, seasonal changes, growth, flowering and fruiting. Who cracked the internut? -- SHANNANIGUMS WAVE.

M.C ESCHER, Joyce, Chu & HYPERBOMBLING

2009-09-14T07:40:00.000-07:00

I was excited to hear about YARNBOMBING: the application of YARN to the urban environment with a Graffiti Artists cunning and brandalist's - methods and state-of-mind. The deployment of HYPERBOLIC objects into the urban and the public environment is a challenge for both teachers, governments and artists alike. For me though, some of the street artists and Graffiti painters are most adept and active in casting HYPERBOLIC structures into the public domain using SURPRISE and artistic prowess to deploy such objects.

"While other forms of graffiti may be expressive, decorative, territorial, socio-political commentary, advertising or vandalism, yarn bombing is almost exclusively about beautification and creativity - http://en.wikipedia.org/wiki/Yarnbombing

One graffiti artist, and good friend of mine - in particular - has a direct association and open interest in HYPERBOLIC structures, as mastered by the great Dutch artist: M.C Escher - Who's work is replicated, in part, on the homepage of the Institute for figuring, the artist known as CHU recently made some 'M.C ESCHER tribute' canvases in AEROSOL that show a freehand GRAFFITI interpretation of HYPERBOLA'

"The matrix is the kind of film about the matrix that the Matrix could have produced -- Jean Baudrillard.

Some Aerosol Graffiti Artists’ manifest "imposseeblu" objects, sombunall based on alphabetical forms. Some BURST, others bust! Graffiti Artist.n.t - blowing up - Alphabits with wind and semantext & putting word and world back together. Repairing the great language crash of 2009 in an Urban ghetto. Some Impossible lettengineers pay structural tribute to M.C Esher, the streets become a labyrinth of ambiguity.

Some experimental ASTRACTIVISTS use Gurilla-attack systems of Graffiti application and deployment, adding to the information quotent within the "surprise = information" equation. span > CHU's latest TRILOGY are a self-described "tribute to M.C ESCHER and GRAFFITI ARTISTS worldwide." Parts 1 & 2 have been deployed already - we await the 3'rd. I wonder of Waterfalls, cubes, Mobius Strip II?

Graffiti Art turns the modern ART Gallery INSIDE OUT. The streets have become galleries again. With hidden treasure and tales for attentive observers. Publik Big Brother public amuses himself, themself and itself. Most Graffiti Artists have an inbred rejection of faux icons and defend the word-world by perpetually turning things inside out. Outside in, like the experience of witnessing an Escher world view, a kind of HYPERBOLIC experience or a COEX system, as Groff' might say. Retail Activity, the painting by CHU sums up & balances down equations vs. Shopping. Aerosol Graffiti Art becomes indistinguishable from Magic.

"I also updated the piece to depict a modern market area, a supermarket or shopping mall, filled with glass panels (shamelessly achieved by the use of a paper edge). Instead of the three views culminating in exit points to organic backgrounds or nature, I chose to make the whole space an interior, with backgrounds of a shop, car park and a public sliding-door entrance. The figures are also modernised; cash machine, struggling pensioners, drunks, maintenance orderly and shoppers. -- http://www.schudio.co.uk/blog/2009/m-c-escher-tribute-2-of-3

Turning the shopper into shop. Nouns into stone. Grey wall. Yes. No. Mighta' Retail Activity Infinite stupidity of consumer. Insider grey shady trade wall. Supermarket sweep-up. CCTV, Banking, shopping, to infinity. Retale of youtube?

In searching for visual metaphors for Joyce's master-built 'Finnegans Wake' the master of impossible objects to the eye - M.C Escher - dances with an isomorphic lurch. Puzzling tesselations in the wake mirror of symmetry. If the word were able to be broken down into the 17 wallpaper - tessilations - then Finnegans Wake would probably be the SPANISH CASTLE MAGIC, or the deployment of wallpapers within a laboratory space of literature, investigating and remixing itself, turning the world inside out, upside down with mathematical precision.

Making the impossible equations of Quantum Mechanics and the newer fields of Cognitive sciences into new MAPS, CHARTS, DIAGRAMS and TOOLS with which to make further readings with, to find the metaprogramer in the infinite flux of being?

Searching for M.C. Escher by name in Finnegans Wake turned up such ESCHER DRAMAS as:

"Anita is informed by some illegitimate
children of Fortissa with Mauritius (the supposition is Ware's)
that Gillia, the schismatical wife of Magravius, is visited
clandestinely by Barnabas, the advocate of Honuphrius, an immoral
person who has been corrupted by Jeremias. -- J.J. F.W. P 572.

"Of course, my
pledge between us, there's no-one Noel like him here to
hear. Esch so eschess, douls a doulse! -- James Joyce, Finnegans Wake, 588.

That's the point of eschatology our book of kills reaches
for now in soandso many counterpoint words. What can't be
coded can be decorded if an ear aye sieze what no eye ere grieved
for. -- J.J, F.W. P. 482.

"He beached the bark of his tale; and set to husband and vine:
and the harpermaster told all the living conservancy, know
Meschiameschianah, how that win a gain was in again. -- J.J, F.W. p. 358

I'll leave the rest to the imagineers. Google Escher, look at his work, now read some of Finnegans Wake - and maybe even listen to some Theolonious MONK.

“RETAIL ACTIVITY” ripples off the tongue, out through the corridoors
The passageways RETAIL ACTIVITY! Like a track title to a musical masterpiece, yes.
The words given to a painting deserve close study.
Fossilized poems and the doors to epiphany.
RETAIL ACTIVITY. The recycling of the market economy?
The impossible reality. Retail ART market.
The labrynth ambiguity that haunts every shop.
The virus of language munching down the gates of market.
Retail intersection point. Mauled perception.
More image and more simulation, the more illusion power. yes.
Whose Buying all the images. THINGNESS virus on the loose. “Isness is an Illness.”
New retail activity in new ways of seeing
New ways of percieving, tools and windows and glosses
To reflect, amplify, redirect energy. Yes.
And provide - transparancy - the great gift of reflection.
RETAIL ACTIVITY MAXIMUS.

http://acrillic.blogspot.com/search/label/Chu

INSTITUTE OF FIGURING & CROCHET

2009-09-14T07:21:00.000-07:00

"The Institute For Figuring is an organization dedicated to the poetic and aesthetic dimensions of science, mathematics and the technical arts. - http://www.theiff.org/

"According to the organization's website, the Institute For Figuring is "dedicated to enhancing the public understanding of figures and figuring techniques. From the physics of snowflakes and the hyperbolic geometry of sea slugs, to the mathematics of paper folding and graphical models of the human mind, the Institute takes as its purview a complex ecology of figuring."
Since its founding in 2003 by Margaret Wertheim and Christine Wertheim the IFF has staged public lectures in Los Angeles and New York on subjects such as tiling patterns, hyperbolic space, early computational devices, and tensegrity structures. The Welsh writer Merrily Harpur has written that "the duty of artists everywhere is to enchant the conceptual landscape." The IFF was founded on the principle that science, mathematics and other techno-logical pursuits may also achieve this goal. - http://en.wikipedia.org/wiki/Institute_For_Figuring

HYPERBOLIC STRUCTURES IN LITERATURE

2009-09-14T06:52:00.000-07:00

Douglas Hoffstader and others have published great studies into the synthesis of arts, science and cognitive structures, and so many HYPERBOLIC areas of research are invoked by them, Godel, Escher, Bach' is a perfect example of HYPERBOLIC STRUCTURES connecting within literature, but the 'Alice in Wonderland' and 'The hare and the tortoise' story's resonate more with the concept I have of HYPERBOLIC literature, and the page as HYPERBOLIC object?

Finnegans Wake itself, and with the added glossings and footnotes provided by Robert Anton Wilson, seems the closest approximation of HYPERBOLIC structures in literature. There are thousands of books and articles showing how James Joyce encoded - physics philosophy, quantum mechanics and taoism - in to the Wake. Robert Anton Wilson's first published article - Joyce and Daoism - can be found echoing throughout the rest of his great comprehensive contribution to world literature, criticism and humanitarian design science. And a good old belly laugh. RAW's own experiments with literature and quantum mechanics - in works such as the Schroedingers Cat Trilogy - he attains his own HYPERBOLIC structures - based upon some of Joyce's principles, and Korzybski, Claude Shannon, Nietzche, Pound, Yeats, and Buckminster Fuller. Bucky was another HYPERBOLIC artist who was known to be a scientist by most people, but it now seems his ideas and principles were closer to art and music in form, and i might add here, exemplified in the activity of creating HYPERBOLIC CROTCHET models.

THREADONISM HYPERBOLIC CROTCHET & REF.

2009-09-14T06:09:00.000-07:00

http://www.threadonism.com/

RIEMANN AND NON-EUCLIDEAN POLITICS?

2009-09-14T05:35:00.000-07:00

RIEMANN AND NON-EUCLIDEAN POLITICS & MAYBELOGIC?

"My trajectory is perpendicular to the left-right axis of terrestrial politics." -- RAW.

"Non-Euclidean Politics:
Beyond Left and Right. (8 week class with Dr. Robert Anton Wilson.)

Can you think beyond the stereotyped left/right, liberal/conservative categories of the national media? This course will examine many libertarian "excluded middles" including Social Credit, Silvio Gesell's Natural Economic Order, Buckminster Fuller's Synergy, and Native American anarchist traditions, in so far as these can be covered in a mere 8 weeks. Whether you agree or disagree with any of these ideas, we guarantee this course will open your mind to the vast possibilities excluded by corporate either/or logic. - http://www.maybelogic.org/courses.htm

"There are many more new pattern books with modern patterns being printed, and most yarn stores now offer crochet lessons in addition to the traditional knitting lessons. Filet crochet, Tunisian crochet, broomstick lace, hairpin lace, cro-hooking, and Irish crochet are all variants of the basic crochet method.
Crochet patterns have an underlying mathematical structure and have been used to illustrate shapes in hyperbolic geometry that are difficult to reproduce using other media or are difficult to understand when viewed two-dimensionally. - http://en.wikipedia.org/wiki/Crochet

"Development of Riemannian geometry resulted in synthesis of diverse results concerning the geometry of surfaces and the behavior of geodesics on them, with techniques that can be applied to the study of differentiable manifolds of higher dimensions. It enabled Einstein's general relativity theory, made profound impact on group theory and representation theory, as well as analysis, and spurred the development of algebraic and differential topology. - http://en.wikipedia.org/wiki/Riemannian_geometry

"This is a glossary of some terms used in Riemannian geometry and metric geometry"

"Crochet (pronounced /kroʊˈʃeɪ/) is a process of creating fabric from yarn or thread using a crochet hook. The word is derived from the Middle French word croc or croche, meaning hook. Crocheting, similar to knitting, consists of pulling loops of yarn through other loops. Crochet differs from knitting in that only one loop is active at one time (the sole exception being Tunisian crochet), and that a crochet hook is used instead of knitting needles. - http://en.wikipedia.org/wiki/Crochet

AND ONTO MOBIUS TRANSFORMS AND THE M.C ESCHER MANYFOLDS!

HYPERBOLIC CROTCH-SADDLERS

2009-09-14T04:57:00.000-07:00

At threadonism.com you can find examples of HYPERBOLIC CROTCHET OBJECTS, each a unique model of mathematically defined HYPERBOLIC STRUCTURES. Bridging the gap between art and science, crochet is an ancient craft, both practical and functional in communities around the world and relatively ubiquitous in it's application, croctet manifests structures, in this case HYPERBOLIC STRUCTURES, from simple threads (STRINGS) by way of a knotting or folding pattern, each twist is a rather complex operation, on the one hand, and a simple to pick up - handycraft - on the other.

Hyperbolic Crotchet seems to be a great tool for bringing craftspeople and academic scientists together in a new and creative way, bridging the gaps between specialization and comprehensive knowledge systems and most importantly engaging human beings in ancient craft activities - physically and mentally - providing an alternatve reality engineering activity outside of the growing virtual - mental - social electronic frontere.

Youtube and internet were the winds that blew the seeds of hyperbolic crotchet into my own life, and my partner has become a Hyperbolic Crotchet master in a matter of just a few months. I am excited to see such an idea manifest as a reality in front of my eyes - a mathematical proof and more - in fact, and beautiful like the fractal artwork explosions, soft, colorful, and malluable. I will share some of the relative links and extensions of the Hyperbolic field, that I feel help describe the importance of this growing craft, and also to pay tribute to the beautiful objects created by Janne at THREADONISM.COM

FROM WIKIPEDIA:

Hyperbolas share many of the ellipse's analytical properties such as eccentricity, focus, and directrix. Typically the correspondence can be made with nothing more than a change of sign in some term. Many other mathematical objects have their origin in the hyperbola, such as hyperbolic paraboloids (saddle surfaces), hyperboloids ("wastebaskets"), hyperbolic geometry (Lobachevsky's celebrated non-Euclidean geometry), hyperbolic functions (sinh, cosh, tanh, etc.), and gyrovector spaces (a non-Euclidean geometry used in both relativity and quantum mechanics). http://en.wikipedia.org/wiki/Hyperbola

Bernhard Riemann, in a famous lecture in 1854, founded the field of Riemannian geometry, discussing in particular the ideas now called manifolds, Riemannian metric, and curvature. He constructed an infinite family of non-Euclidean geometries by giving a formula for a family of Riemannian metrics on the unit ball in Euclidean space. Sometimes he is unjustly credited with only discovering elliptic geometry; but in fact, this construction shows that his work was far-reaching, with his theorems holding for all geometries. http://en.wikipedia.org/wiki/Non-Euclidean_geometry

THREADONISM.COM

2009-09-14T04:45:00.000-07:00

Please visit the website of Janne (the artist and craftsperson) behind THREADONISM. The purpose of this blog' is to provide to research and expansion of some of the principles behind THREADONISM.

http://www.threadonism.com/