Automatic update, changed: las.future.md, las.missing.md

pages/fulldocs.GeorgesPereconPuzzles.md

@@ -0,0 +1,40 @@
+---
+created: 2022-07-24T21:56:24 (UTC +02:00)
+tags: 
+source: https://www.thenation.com/article/archive/georges-perec-puzzles/
+author: By Joshua Kosman and Henri Picciotto
+
+September 14, 2012
+---
+[[people.GeorgesPerec]][[fulldocs.GeorgesPereconPuzzles.quotes]]
+
+# Georges Perec on Puzzles | The Nation
+
+> ## Excerpt
+> Constraints, literary and ludic
+
+---
+## Georges Perec on Puzzles
+
+## Georges Perec on Puzzles
+
+## 
+
+Constraints, literary and ludic
+
+September 14, 2012
+
+\[First, three links:  
+• The [current puzzle  
+](http://www.thenation.com/article/puzzle-no-3252)• Our puzzle-solving [guidelines  
+](http://www.thenation.com/article/solving-nations-cryptic-crosswords)• A Nation puzzle solver’s [blog](http://thenationcryptic.blogspot.com/) where you can ask for and offer hints.\]
+
+Writing cryptic clues is a form of constrained writing. To begin with, for each entry, one has to include both definition and wordplay—but not every sort of wordplay works for every entry! Most words, for example, do not yield anything intelligible if read backwards, many do not make for suitable anagrams, and so on. Then, once some form of wordplay has been found, one still needs to come up with a way to combine it with the definition in a way that has a plausible surface reading. These and other constraints are what make clue writing an interesting puzzle for the constructor.
+
+Some of the most sustained exploration of the use of constraints in literature has come from the writers’ group Oulipo (the name is a bigram acronym for _Ouvroir de littérature potentielle,_ or “workshop of potential literature”). The group counts among its members the Italian novelist Italo Calvino and the American writer Harry Mathews, but most participants have been French. One prominent Oulipian was the French novelist Georges Perec (1936–82), who in addition to his literary work was a prolific constructor of crossword puzzles (about which we will have more to say in a future post). Perec wrote a lengthy novel (_La Disparition_, translated into English by Gilbert Adair as _A Void_) that never used the letter E—then followed up with a novella (_Les Revenentes_, translated by Ian Monk as _The Exeter Text: Jewels, Secrets, Sex_), in which the _only_ vowel used was E. He also constructed a palindrome of 1247 words (5,566 letters) which, unsurprisingly, has not been translated.
+
+Perec’s masterwork, _Life A User’s Manual_, is built upon a massively intricate formal framework using multiple constraining schemes, and tells many interlocking stories. The backbone of the main narrative involves jigsaw puzzles. Perec writes: “The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and, instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled—this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery—serve by design as points of departure for trails that lead to false information.… From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.”
+
+This is of course true of puzzles of all types. When you solve our crossword, we are there with you, engaged in a sort of dialogue. When writing clues, we imagine how you might respond to a particular word or phrase, and lay traps accordingly. When you see through our schemes, you get beneath the surface of the clue, and unpack the way our minds work. Paradoxically, the friendly struggle we are engaged in is a collaboration!
+
+Please share your thoughts on literary and cruciverbal constraints below, along with comments, questions, kudos or complaints about the current [puzzle](http://www.thenation.com/article/puzzle-no-3252) or any previous puzzle.

pages/fulldocs.GeorgesPereconPuzzles.quotes.md

@@ -0,0 +1 @@
+>The art of jigsaw puzzling begins with wooden puzzles cut by hand, whose maker undertakes to ask himself all the questions the player will have to solve, and, instead of allowing chance to cover his tracks, aims to replace it with cunning, trickery, and subterfuge. All the elements occurring in the image to be reassembled—this armchair covered in gold brocade, that three-pointed black hat with its rather ruined black plume, or that silver-braided bright yellow livery—serve by design as points of departure for trails that lead to false information.… From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzle-maker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.”

pages/las.future.md

@@ -33,17 +33,19 @@ _**“Everything is related to everything else, but near things are more related
 
 ## Topicalia
 + [[las.missing]]
-- Line and Surface X Line of Flight [[1000p]]
 - WSB
-	- Electronic revolution
+	- Electronic revolution 
 		- https://pile.sdbs.cz/item/61
+		- #alphabet
+		- //follow glosolalia
 - perec 
 	- puzzles
-		- https://www.thenation.com/article/archive/georges-perec-puzzles/ 
+		- [[fulldocs.GeorgesPereconPuzzles]]
-- serpent theme
+		- [[fulldocs.GeorgesPereconPuzzles.quotes]]
+- serpent theme --> [[las.quotes.serpent]]
 	- Wilson 
 	- Warburg
-- Cities theme [[las.quotes.cities]]
+- Cities theme --> [[las.quotes.cities]]
 - temporality theme
 	- //as proposed #fill
 		- txt gifs 
@@ -54,6 +56,7 @@ _**“Everything is related to everything else, but near things are more related
 		- existenalism X postlanguage
 - visionaries (aka [[concepts.trailblazers]])
 	- [alan kay - tribute to ted nelson](https://www.youtube.com/watch?v=AnrlSqtpOkw) - konec
+		- autotranscript [[fulldocs.youtube.alankay.tednelson]]
 - space bar signs 
 - [[fulldocs.twitter.codex.relations]]
 - [[incubation.hermes]]
@@ -72,16 +75,14 @@ _**“Everything is related to everything else, but near things are more related
 
 ---------------------------------
 
-**Information is like a bank. Some of us are rich, some of us are poor with information. All of us can be rich. Our job - your job is to rob the bank, to kill the guard. We go out there to destroy everybody, who keeps and hides the whole information. Genesis P. Orridge **
+>Information is like a bank. Some of us are rich, some of us are poor with information. All of us can be rich. Our job - your job is to rob the bank, to kill the guard. We go out there to destroy everybody, who keeps and hides the whole information. 
+ - Genesis P. Orridge
 
 
-**Draw the line, says the accountant: but one can in fact draw it anywhere. Gilles Deleuze**
+> Draw the line, says the accountant: but one can in fact draw it anywhere. 
+ - Gilles Deleuze
 
 
-
-Once we cast architecture into cyberspace, these concerns take on both theoretical and practical urgency. The architect must now take into active interest not only the motion of the user through the environment, but also account for the fact that the environment itself, unencumbered by gravity and other common constraints, may itself change position, attitude, or attribute. This new choreographic consideration is already a profound extension of responsibilities and opportunities, but it still corresponds only to “movement-image”. Far more interesting and difficult is the next step, in which the environment is understood not only to move, but also to breathe and transform, to be cast into the wind not like a stone but like a bird. What this requires is the design of mechanisms and algorithms of animation and interactivity for every act of architecture. Mathematically, this means that time must now be added to the long list of parameters of which architecture is a function.
-[[Quotes.transmitting.architecture]][[fulldocs.Transmitting Architecture-The Transphysical City]]`	`
-
 -----------------------------------
 
 - https://wiki.killuglyradio.com/wiki/Project/Object_concept [[people.FrankZappa]]

pages/las.missing.md

@@ -14,6 +14,7 @@
 
 
 -------------------------------------
+#hermes #map #fix
 
 >“Where are you?” “What place are you talking about?” I don’t know, since Hermes is continually moving on. Rather, ask him, “What roadmap are you in the process of drawing up, what networks are you weaving together?” No single word, neither substantive nor verb, no domain or specialty alone characterizes, at least for the moment, the nature of my work. I only describe relationships. For the moment, let’s be content with saying it’s “a general theory of relations.” Or “a philosophy of prepositions."[\[31\]](https://contempaesthetics.org/newvolume/pages/article.php?articleID=812#FN31)
 
@@ -22,7 +23,7 @@
 >Let us, then, recapitulate our argument, in order to try to suggest what form the new civilization might take. We have two alternatives before us.
 First, there is the possibility that imaginal thinking will not succeed in incorporating conceptual thinking. This could lead to a generalized depolitization, deactivation, and alienation of humankind, to the victory of the consumer society, and to the totalitarianism of the mass media.
 Such a development would look very much like the present mass culture, but in more exaggerated or gross form. The culture of the elite would disappear for good, thus bringing history to an end in any meaningful sense of that term. The second possibility is that imaginal thinking will succeed in incorporating conceptual thinking. This would lead to new types of communication in which man consciously assumes the structural position. Science would then be no longer merely discursive and conceptual, but would have recourse to imaginal models. Art would no longer work at things (“oeuvres”), but would propose models. Politics would no longer fight for the realizations of values, but would elaborate manipulable hierarchies of models of behavior. All this would mean, in short, that a new sense of reality
->> line and surface
+ - Vilem Flusser - line and surface
 
 #fix 
 
@@ -33,5 +34,5 @@ concept. (First there was the stone, then the image of the stone, then the expla
 Imaginal thought will be a translation from concept into image, and conceptual thought a translation from image to concept. In such a feedback situation, an adequate model can finally be elaborated. **First there will be an image of something, then there will be an explanation of that image, and then there will be an image of that explanation. This will result in a model of something (this something having been, originally, a concept).
 And this model may fit a stone (or some other fact, or nothing).** Thus a fact, or the absence of a fact, will have been disclosed. There would once more exist a criterion of distinction between fact and fiction (fit and
 unfit models), and a sense of reality would have been recovered. What has just been said is not an epistemological or ontological
->>las 
+ - las