digital-garden-anabasis/pages/las.future.md

las.future

las.roadmap

Footage / Motion_capture / Archive

Interaction -->---> Animation

Technicalia / conceplallia

• endframes links to opposite side of canvas
  • how
    • hyperlink? like hyperdrive-anti-anchor
  • endless vs. not endless
• more hyperlinks
• more SVGs and/or zoom-svg-visuals overall
• more videos
• fix soundsauce for seemless situation
  • content-vice, no coding [yet?]
• space bar signs
  • safety space bar signs to remind you to press spacebar in case of emergency
• more anchors
• cleanup of 101

User Interface / interaction

• joystick
• ddr
• bigscreen - with webcam control?
• fulldocs.twitter.zoomable_ui]

! #update

Topicalia

• las.missing

• WSB
  • Electronic revolution
    • https://pile.sdbs.cz/item/61
• perec
  • puzzles
    • https://www.thenation.com/article/archive/georges-perec-puzzles/
• serpent theme
  • Wilson
  • Warburg
• Cities theme
  • Bertolt Brecht 1935 Questions From a Worker Who Reads
  • cubitt - sound and city ?
  • flusser
    • city as wave thru...
    • od sobjektu k projektu
  • gibson
    • ??
    • https://www.scientificamerican.com/article/gibson-interview-cities-in-fact-and-fiction/
    • lif ein the metacity
  • situanionism
    • https://en.wikipedia.org/wiki/Psychogeography
    • http://library.nothingness.org/articles/SI/en/display/2
    • http://library.nothingness.org/articles/SI/en/display/87
    • Formulary for a New Urbanism !!!
  • benjamin
    • arcade project

      • The crowd was the veil from behind which the familiar city as phantasmagoria beckoned to the flâneur. In it, the city was now landscape, now a room. And both of these went into the construction of the department store, which made use of flânerie itself in order to sell goods. The department store was the flâneur's final coup. As flâneurs, the intelligentsia came into the market place. As they thought, to observe it – but in reality it was already to find a buyer. In this intermediary stage ... they took the form of the bohème. To the uncertainty of their economic position corresponded the uncertainty of their political function.

    • Drawing on Fournel, and on his analysis of the poetry of Baudelaire, Walter Benjamin described the flâneur as the essential figure of the modern urban spectator, an amateur detective and investigator of the city. More than this, his flâneur was a sign of the alienation of the city and of capitalism. For Benjamin, the flâneur met his demise with the triumph of consumer capitalism.[7]
      • Fournel wrote: "The flâneur must not be confused with the badaud; a nuance should be observed there .... The simple flâneur is always in full possession of his individuality, whereas the individuality of the badaud disappears. It is absorbed by the outside world ... which intoxicates him to the point where he forgets himself. Under the influence of the spectacle which presents itself to him, the badaud becomes an impersonal creature; he is no longer a human being, he is part of the public, of the crowd."[8][1]
• temporality theme
  • //as proposed
    • txt gifs
• aarseth / ergodic literature
• 1000 plates subcanvas
  • DNF
    • existenalism X postlanguage
• visionaries
  • alan kay - tribute to ted nelson - konec
• space bar signs
• fulldocs.twitter.codex.relations

Rename

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**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

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.