tag:blogger.com,1999:blog-33820278119084926682024-03-21T08:14:25.870-07:00arshiaarshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.comBlogger63125tag:blogger.com,1999:blog-3382027811908492668.post-21794900639347712982013-05-30T09:43:00.001-07:002015-01-01T10:43:52.943-08:00Epiphenomenon<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: inherit;">Ultimately architecture -aside from its many growing implications in the sciences- and as the practice, is responsible for the physical definition of space, a definition that has invoked the notion of ‘performance’ and the tired utilitarian debate on the correlation of form and function. To move this debate on entirely, we should possibly "redefine ‘form’ not as the shape of a material object alone, but as the multitude of effects, the milieu of conditions, modulations and microclimates that emanate from the exchange of an object with its specific environment - a dynamic relationship that is both perceived and interacted with by a subject. Performance evolves from the synthesis of this dynamic(Hensel and Achim 6-11), the same way it evolves from the dramatic definition of the word in its theatrical realm. Once the perspective is shifted form the 20th century world view of dissecting the physical world into individual atoms to an understanding of interrelations, connections and ultimately to the architectures of ‘interface’ we can deduce that in a network society the interfaces between things matter as much as things themselves. With this perspective, theatrical performance, and screen acting in particular pose an interesting commonality with the performance of architecture in the digital age not only through an understanding of matter and form, but rather the emergence of substance through the study of complex behavior and those boundaries between systems that govern the condition of exchange between them.</span> </div>
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<span style="font-size: x-small;"></span><span style="font-family: inherit;"><span style="font-family: inherit;">Hensel, Michael, and Mendez Achim. <i>Versatility and Vicissitude: An Introduction to Performance in Morpho-Ecological Design</i>. 78. London: John Wiley & Sons, Ltd., 2008. 6-11. Print. <o:p></o:p></span> <o:p></o:p></span> </div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-67342972517082157892013-05-30T09:37:00.002-07:002013-05-30T09:44:15.416-07:00Noumenon <br />
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<tr><td style="padding: 0px;">A Noumenon (in Kantian philosophy) is a thing as it is in itself, as distinct from a thing as it is knowable by the senses through phenomenal attributes.<br />
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<span style="font-size: x-small;">image: Hiroshima, photographer unknown</span></div>
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arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-85919177406495415522013-04-14T14:53:00.004-07:002013-04-14T14:56:35.938-07:00Free Body Diagram<br />
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One can
argue that the composition of forces that contribute to a climber’s ability to
hang from four fingers or a karate master’s power to smash a brick wall, surpass
conventional structural analytics (whether dynamic or static). This is an altogether different convergence of forces than a strongman competitor or a boxer where the forces are equal on both sides of the equation. This is quite possibly an example of a structural equation where the sum is greater than its parts, one aligned with "the principle of least effort" in evolutionary biology. If one can truly
map the forces that are accumulated through these intensities, new paradigms
for structural stability can disentangle our built environment from buildings to
cars and our relationships with them. <br />
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arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-78399658915780764992013-04-03T22:04:00.001-07:002013-04-03T22:04:11.106-07:00Plasma<div class="separator" style="clear: both; text-align: center;">
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“Stores have the product displayed to follow the logic of marketing,” At a warehouse, on the other hand, “there’s no psychology involved. It’s pure efficiency.”<span style="font-size: xx-small;">1</span><br />
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<span style="font-size: xx-small;">1. Wired interview with John Bartholdi, professor of </span><a href="http://www.warehouse-science.com/"><span style="font-size: xx-small;">warehouse science</span></a><span style="font-size: xx-small;"> at Georgia Tech.</span><br />
<span style="font-size: xx-small;">Photo:</span> <span style="font-size: xx-small;">Mark Bramley</span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-19721145551572728992012-11-27T23:19:00.002-08:002013-02-17T20:58:46.070-08:00Existance<div class="separator" style="clear: both; text-align: center;">
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<span class="userContent">"The mortal player". In a recent genre of games, the prospect of permanent death alters the landscape and dynamics of games in a fundamental undertaking as every decision made in the game could lead to annihilation of the player. This change in strategy, shifts the alliance of video games and reality from superior graphics to the psychology of human existence.</span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-39978772242090879582013-02-17T20:15:00.001-08:002013-02-17T20:55:58.718-08:00Hæc<div class="separator" style="clear: both; text-align: center;">
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Hæcceity denotes the discrete qualities, properties or characteristics of a thing which make it a <i>particular</i> thing. It is a person or object's "<i>thisness</i>" or in other terms, a non-descriptive reference to an individual.<br />
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<span style="font-size: x-small;">Source: Wikipedia</span><br />
<span style="font-size: x-small;">Image: Robert DeNiro, Raging Bull, 1980</span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-60708593415735175412012-09-24T00:12:00.000-07:002013-02-17T20:48:46.681-08:00<div class="separator" style="clear: both; text-align: center;">
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Lenore Tawney </div>
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arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-53273828599703458072011-04-01T18:30:00.000-07:002011-04-01T21:40:48.110-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ovgGAZrE3xTKWTfnhkf1NuMddX1xFPjMn0WF5L1e6yB9774zurlMb-zY05zdcGZhAO3UtCtshzzsNxW9oXrCJ3sAr5HcP1Rhyphenhyphent3N54jS0N761cCZBLmJq-noxhd-LTBc49aPV3i5lPM/s1600/sun_20091010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ovgGAZrE3xTKWTfnhkf1NuMddX1xFPjMn0WF5L1e6yB9774zurlMb-zY05zdcGZhAO3UtCtshzzsNxW9oXrCJ3sAr5HcP1Rhyphenhyphent3N54jS0N761cCZBLmJq-noxhd-LTBc49aPV3i5lPM/s400/sun_20091010.jpg" width="400" /></a></div><span style="font-size: small;">"Why is there something, instead of nothing" <span style="font-size: xx-small;">[1]</span></span><br />
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<div class="MsoBibliography"><span style="font-size: small;"><span style="font-size: x-small;">1. Hawking, S., & Mlodinow, L. (September 7, 2010). <i>The Grand Design.</i> Oxford: Bantam</span>.</span></div><div class="MsoBibliography"><span style="font-size: small;"><span style="font-size: x-small;">Image: Allen Friedman Telescopic photograph of the Sun with hydrogen filter </span></span></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-6840432103304223032011-03-08T20:55:00.000-08:002011-04-01T19:07:51.115-07:00Cymatic Ripple<div style="text-align: left;"><div style="text-align: center;"><iframe frameborder="0" height="300" src="http://player.vimeo.com/video/7993572?title=0&byline=0&portrait=0&color=ffffff&autoplay=1&loop=1" width="400"></iframe></div>video courtesy: <a href="http://vimeo.com/flight404">flight404</a></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-81930053703477104052011-03-01T22:34:00.000-08:002011-03-02T00:41:50.992-08:00Immaterial Space<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYDrH3OBUe8b263eHYnTtXhnfIhWhW69ZwO6ehBcyUMhf8XG8Zu50kMiRmOqD2kY0jofBv206nob_DanAo0yGpkR4NcFFeq4QiyBnFcB9WCvytwQxG0chErIsz75_D1cqhTPjh9CrzXo/s1600/T610287-Port_Sudan_airport-SPL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYDrH3OBUe8b263eHYnTtXhnfIhWhW69ZwO6ehBcyUMhf8XG8Zu50kMiRmOqD2kY0jofBv206nob_DanAo0yGpkR4NcFFeq4QiyBnFcB9WCvytwQxG0chErIsz75_D1cqhTPjh9CrzXo/s400/T610287-Port_Sudan_airport-SPL.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div>When the Schiphol International Airport in Amsterdam decided to expand from handling accurately and efficiently 70 million pieces of luggage per year—20 million more bags per year than they used to, they had a problem with space since the airport is confined within city and other territorial limits. An increase of 40 percent in the capacity of luggage meant an even larger spatial growth due to the number of employees and accessories that was required to perform this task. The solution came in a collaboration with IBM, where the airport's automated baggage system will allow Schiphol to increase their baggage handling capacity to the desired level. <br />
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</div><div class="MsoNormal">“We could not make the airport bigger; the physical footprint is limited by highways, cities and villages. We must make more capacity available by making the system smarter…The system chooses the fastest way by which it can get the suitcase to its exit point… So you can imagine the intelligent software creates space where there was no space before. Schiphol is not really buying software, they are buying performance.”<span style="font-size: x-small;"><a href="http://www.blogger.com/post-edit.g?blogID=3382027811908492668&postID=8193005370347710405#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[1]</span></span></span></a></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In this practical example, organization of matter has lent itself to the organization of bits, thus providing an immaterial substitution for the architecture of space.</div><br />
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<hr align="left" size="1" width="33%" /><div id="ftn1"><div class="MsoFootnoteText"><span style="font-size: x-small;"><a href="http://www.blogger.com/post-edit.g?blogID=3382027811908492668&postID=8193005370347710405#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[1]</span></span></span></a> Hans Deijkers & Remco Sierat of IBM Global Services</span></div><span style="font-size: x-small;">Photo: Port Sudan Airport courtesy Science Photo Library</span></div></div><span style="font-size: x-small;">Source: <a href="http://www-03.ibm.com/innovation/us/leadership/luggage/index.html">IBM</a></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-844159547022917992011-01-24T00:14:00.000-08:002011-03-01T22:41:52.678-08:00Affect of Science<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYlsBNoem7GT9igWJk8EC14sZ9fib-XxvsJZjOy_tBVSWc6K38ARBjtZ1tEec5dfWENIADcQZU4l1FukMcPZRFEtnSOGl-7hZ1U99K2EfHnSQde60TtG1Mn6o1Z2r-2MktVlOQmXhyphenhyphenkzo/s1600/171loops_Dec2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" s5="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYlsBNoem7GT9igWJk8EC14sZ9fib-XxvsJZjOy_tBVSWc6K38ARBjtZ1tEec5dfWENIADcQZU4l1FukMcPZRFEtnSOGl-7hZ1U99K2EfHnSQde60TtG1Mn6o1Z2r-2MktVlOQmXhyphenhyphenkzo/s400/171loops_Dec2010.jpg" width="400" /></a></div><span style="font-family: "Trebuchet MS",sans-serif;">"What men are poets who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia [you] must be silent?" </span><br />
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<span style="color: #7f6000; font-family: "Trebuchet MS",sans-serif; font-size: x-small;"><a href="http://en.wikipedia.org/wiki/Richard_Feynman">Richard P. Feynman</a></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-67863431291733128932011-02-18T23:24:00.000-08:002011-02-18T23:25:29.470-08:00Space and Time<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixRVJIN7ujWySeenh7rf1PTaU2SkFuG46QXk1JsKu9QCd2ovLQGSu40Xgz5CSCqR1_XX3Fp_I0g1jPwSUaUxLxMJL1z2cv5Zc-kGRw69srsjek2lGeEgDZCgBDJ3-HrjZ3mA2fVpjR4s/s1600/800px-Fluorescent_lamps_artistic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixRVJIN7ujWySeenh7rf1PTaU2SkFuG46QXk1JsKu9QCd2ovLQGSu40Xgz5CSCqR1_XX3Fp_I0g1jPwSUaUxLxMJL1z2cv5Zc-kGRw69srsjek2lGeEgDZCgBDJ3-HrjZ3mA2fVpjR4s/s400/800px-Fluorescent_lamps_artistic.jpg" width="400" /></a></div>Although fixed in space, Michel Foucault notes "Museums and libraries have become heterotopias in which time never stops building up." <br />
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<span style="font-size: x-small;">Michel Foucault. (1967) <em>Of Other Spaces: Utopias and Heteroptopias</em></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-26030137276178575702011-01-24T23:05:00.000-08:002011-02-18T14:02:02.897-08:00<div style="text-align: center;"><iframe frameborder="0" height="300" src="http://player.vimeo.com/video/4621997?title=0&byline=0&portrait=0&autoplay=1&loop=1" width="400"></iframe></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-4830498397549375842010-11-12T09:46:00.000-08:002010-12-20T12:13:38.122-08:00New Regime of Fineness<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlro3NToGcJWExRMAQAZc0G1CbETwLZEicJmFLJG8A0YQBXAY-1_DBE4DhpqrBCHpcUziowUUBCsNaE3YJeKkxQNXmGWr_peRCTpO-X0xZS3VQV5CDV0jvGM3i_10xYxSseQVrTcCsoDc/s1600/Image17.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlro3NToGcJWExRMAQAZc0G1CbETwLZEicJmFLJG8A0YQBXAY-1_DBE4DhpqrBCHpcUziowUUBCsNaE3YJeKkxQNXmGWr_peRCTpO-X0xZS3VQV5CDV0jvGM3i_10xYxSseQVrTcCsoDc/s400/Image17.gif" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-family: 'Trebuchet MS', sans-serif;">[In his Monadology <span class="Apple-style-span" style="font-size: xx-small;">1</span>] true substances were explained as metaphysical points which, Leibniz asserted, are both real and exact — mathematical points being exact but not real and physical ones being real but not exact <span class="Apple-style-span" style="font-size: xx-small;">2</span>. </span></span><span style="font-family: 'Trebuchet MS', sans-serif;"><br />
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<span style="font-family: Verdana, sans-serif; font-size: x-small;">Source: http://en.wikipedia.org/wiki/Monadology</span> <br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"></span><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;">1.^ Leibniz G., The Monadology translated by George MacDonald Ross, 1999</span><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;">2.^ Leibniz G., New System §11</span><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;">Image: Controlled-NOT Molecular Gates of NMR-type Quantum Computer</span><br />
<a href="http://www.carolla.com/quantum/QuantumComputers.htm"><span style="font-family: Verdana, sans-serif; font-size: x-small;">http://www.carolla.com/quantum/QuantumComputers.htm</span></a>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-37684986781485444382009-03-29T13:12:00.001-07:002010-12-20T11:44:13.569-08:00Cai Guo-Qiang at Guggenheim Bilbao<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxAwEoc44trjXURMyGC5SWn7BxanDqGpj7ZkXWuvRmmwA0_uxCrEgRO-bp684hvWqwtr68fHlnSdGadqyRi8g' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com1tag:blogger.com,1999:blog-3382027811908492668.post-63663419271377747532010-03-03T20:48:00.000-08:002010-11-16T15:41:54.788-08:00Continental Bodies<div align="center"><span style="font-size: 25%;"></span></div><div align="center"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='416' height='345' src='https://www.blogger.com/video.g?token=AD6v5dxT-ZEpQNdFSQ704cyBSk0VIDDFSxurEl7e8Mw_PBxWPXj_vzXayQCcqEuSDKopbvmezAkw5UUEuo-JuvXKew' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br />
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</div><div align="justify"><span style="font-family: "Trebuchet MS", "sans-serif";">"Nobody can deny that to be able to swim is a conquest of existence, it is fundamental that you understand: I conquer an element; it is not so obvious to conquer an element. I can swim, I can fly; wonderful. [But] what does it mean? It is very simple: not being able to swim consists of being vulnerable to the confrontation of the wave. Then, you have the infinite ensemble of water molecules that compose the wave; it composes a wave, and I say it's a wave because it is composed of elementary bodies called “molecules”. Actually they are not the most elementary; one should go even further than water molecules. Water molecules already belong to a body, the aquatic body, the ocean body, etc…</span><span style="font-family: "Georgia", "serif";"></span></div><br />
<div align="justify" style="margin-bottom: 12pt;"><span style="font-family: "Trebuchet MS", "sans-serif";">What is the fundamental mode of acquiring knowledge? It is ... the experiential acquisition of knowledge: <em>I dare, I wade</em>, like one says. What does it mean to wade? … the word indicates pretty well, one clearly sees that it is an extrinsic relationship: sometimes the wave cuffs me and sometimes it takes me away; they are shock effects… meaning, I don’t know anything of the relationships that compose themselves or decompose themselves, I receive the extrinsic effects. The parts that belong to me are being shuddered; they receive a shock effect coming from parts that belong to the wave. Therefore sometimes I laugh, sometimes I weep, depending if the wave makes me laugh or knock me out, I am within the passion affects… </span></div><br />
<div align="justify" style="margin-bottom: 12pt;"><span style="font-family: "Trebuchet MS", "sans-serif"; mso-bidi-font-style: italic;">On the contrary, ‘I can swim’ does not necessarily mean that I have a mathematical, physical, or scientific knowledge of the wave’s movement; it means that I have a skill, a surprising skill; I have a sense of rhythm. What does ‘the rhythm’ mean? It means that I know how to compose my characteristic relationship directly with the wave’s relationship. It does not happen anymore between the wave and me, meaning it does not happen anymore between the extensive parts, the wave’s wet parts and my body’s parts; it happens between the relationships. Relationships that compose the wave, relationships that compose my body and my skills when I can swim, presenting my body under some relationships that compose themselves directly with the wave’s relationships. I dive with synchronicity; I come out from under the water with synchronicity. I avoid the coming wave, or on the contrary I use it, etc… All this is the art of the composition of relationships.”</span></div><br />
<div align="justify" style="margin-bottom: 12pt;"><span style="font-family: "Trebuchet MS", "sans-serif"; font-size: 85%; mso-bidi-font-style: italic;"></span></div><br />
<div align="justify"><span style="font-family: "Trebuchet MS", "sans-serif"; mso-bidi-font-style: italic;"><span style="font-size: 85%;">Translation of short excerpt extracted from a class by Gilles Deleuze's on Spinoza in Cours Vincennes University in Paris during the 70's. </span></span></div><br />
<div align="justify"><span style="font-family: "Trebuchet MS", "sans-serif"; mso-bidi-font-style: italic;"><span style="font-size: 85%;">Source <a href="http://boiteaoutils.blogspot.com/">http://boiteaoutils.blogspot.com/</a></span></span></div><div align="justify"><span style="font-family: "Trebuchet MS", "sans-serif"; mso-bidi-font-style: italic;"><span style="font-size: 85%;">Video: 'Drowning' by Luke Brown</span></span></div><span style="font-size: 85%;"></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com1tag:blogger.com,1999:blog-3382027811908492668.post-40339985036891733332010-06-02T23:01:00.000-07:002010-11-16T11:08:08.736-08:00Jeff Koons BMW art-car<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpvkkFiNCl0A8b0-qYIZJ0Fde7_NSWlWd9AUrs44Xh0GVwsBFMsNxVBaUPWuhhKJrdrPajO9-9dLuODGmN6qavVCsmFn5O4BTygO81XrtB4bkQNpfXxSTAH_3tdqB7KQmleqnpk2byPPw/s1600/Jeff-Koons-Art-Car-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gu="true" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpvkkFiNCl0A8b0-qYIZJ0Fde7_NSWlWd9AUrs44Xh0GVwsBFMsNxVBaUPWuhhKJrdrPajO9-9dLuODGmN6qavVCsmFn5O4BTygO81XrtB4bkQNpfXxSTAH_3tdqB7KQmleqnpk2byPPw/s400/Jeff-Koons-Art-Car-01.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">"I don't speed. But i like to get to my destination as soon as possible"</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Jeff Koons</span></div><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;"><br />
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<span style="font-size: xx-small;">Read More http://www.wired.com/autopia/2010/06/jeff-koons-art-car-doesnt-suck/#ixzz0plbu9GoM</span></span> <span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;"></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-77757064722245106882010-11-04T19:40:00.000-07:002010-11-04T19:40:30.365-07:00Natural Engine<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://i1113.photobucket.com/albums/k502/xarshiax/comet-hartley-2-epoxi-flyby-nasa1.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" px="true" src="http://i1113.photobucket.com/albums/k502/xarshiax/comet-hartley-2-epoxi-flyby-nasa1.gif" width="400" /></a></div><span style="font-family: "Trebuchet MS", sans-serif;">Five brand new close-ups of comet 103P/Hartley 2 arrived at NASA’s Jet Propulsion Lab...at 8:02 Pacific time this morning.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;">The Deep Impact probe (now on a mission called EPOXI) passed by comet Hartley 2 at 7:01 a.m. PDT... The probe flew through the comet’s diffuse corona at about 27,500 miles per hour and came within 435 miles of its icy, dirty core.</span><br />
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<span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">Source: </span><a href="http://www.wired.com/wiredscience/2010/11/epoxi-comet-flyby/"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">http://www.wired.com/wiredscience/2010/11/epoxi-comet-flyby/</span></a>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-83435603622180851592010-08-23T10:25:00.000-07:002010-08-23T10:25:34.176-07:00Design of Design<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikk5R3X2XH9HFJnJsTjnlZjrxSGDeDlFJPaQBt1cHDMGv6z8JUHe_5TtE1PEVlFLxzxCH6tkMUVEAwdAJ0YOisT0jwdDUTTZfSbk9_iBMuBeHN6et3VLDbGic3ulh0fCrb80XIxD9K0jo/s1600/l634126643513473861.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikk5R3X2XH9HFJnJsTjnlZjrxSGDeDlFJPaQBt1cHDMGv6z8JUHe_5TtE1PEVlFLxzxCH6tkMUVEAwdAJ0YOisT0jwdDUTTZfSbk9_iBMuBeHN6et3VLDbGic3ulh0fCrb80XIxD9K0jo/s400/l634126643513473861.jpg" width="400" /></a></div><span style="font-family: "Trebuchet MS", sans-serif;">"Edwin Land, inventor of the Polaroid camera, once said that his method of design was to start with a vision of what you want and then, one by one, remove the technical obstacles until you have it. I think that’s what Steve Jobs does. He starts with a vision rather than a list of features."</span><br />
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<a href="http://www.amazon.com/Design-Essays-Computer-Scientist/dp/0201362988"><span style="font-family: "Trebuchet MS", sans-serif;">Fred Brooks</span></a>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-24535906908758133162010-08-22T13:02:00.000-07:002010-08-22T23:36:27.065-07:00Interstitial Mind<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6DmiOmqVUeyQ1DoPhH1rh67CpUgni5_J-B2-kTC-sB3TrcbFe2V7399hM3AcgNfAnnOfHns-OWpqpnBdA_Jet6-VsumySkf-H0m7ZteknGn_COa_u2NkXEZfGcuh_yHn8twZS0Ytb9PU/s1600/pixel3-photogrpahy1+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6DmiOmqVUeyQ1DoPhH1rh67CpUgni5_J-B2-kTC-sB3TrcbFe2V7399hM3AcgNfAnnOfHns-OWpqpnBdA_Jet6-VsumySkf-H0m7ZteknGn_COa_u2NkXEZfGcuh_yHn8twZS0Ytb9PU/s400/pixel3-photogrpahy1+.jpg" width="400" /></a></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-family: 'Trebuchet MS', sans-serif;">A revolution is only interesting in its becoming. The intermediary state of revolt, not the authority state nor the revolutionary government. An interstitial state between events. </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The negative space. The Void. </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The zone of not the city nor the suburb, but the street. That of wires that connect nodes, and that of mathematical equations that put two otherwise distinct variables in a relationship. Guerrilla artfare, with no plausible form or taste. The culinary art of preparing ‘water’. An entire movie on the flow of black oil.</span></div><div style="text-align: justify;"><span style="font-family: 'Trebuchet MS', sans-serif;"></span></div><span style="font-family: 'Trebuchet MS', sans-serif;"></span><br />
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</div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">That median space is where the DJ usually stands; in-between two decks, twisting reality on the turntable. A circlet or what Deleuze might call a “crystalline ” is formed, resonating the minute reactions of chemical influx onto amplifiers. Palpation of vibrations at a sub-atomic level. Once again it is the body that is the instrument of inscription. It is an infinite loop between an organic battery and the indomitable machine powered by electricity. Electricity that is traditionally produced by burning oil.</span><br />
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<div style="text-align: justify;"><span style="font-family: 'Trebuchet MS', sans-serif;"></span> </div><div style="text-align: justify;"><span style="font-family: 'Trebuchet MS';"><span style="font-size: x-small;">Image: Pixel3 Photography 2007</span> </span></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-24444595167968139072010-04-28T09:43:00.001-07:002010-08-22T13:11:58.918-07:00clocks<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc0UBhYlZ2fWHIMtG92uNCERg88riTMGnxNPhPHmTzljQiJfU9qV296EOn7hTHdlPK-OXQ4iB1JOGKPJO7qRPWPCvFMoDOxMNJ5XsuxBc46mFeAy_m7IKaTcOZYuVS1DtD6e1i7pIC9Cs/s1600/untitled.bmp"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5465231280103718226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc0UBhYlZ2fWHIMtG92uNCERg88riTMGnxNPhPHmTzljQiJfU9qV296EOn7hTHdlPK-OXQ4iB1JOGKPJO7qRPWPCvFMoDOxMNJ5XsuxBc46mFeAy_m7IKaTcOZYuVS1DtD6e1i7pIC9Cs/s400/untitled.bmp" style="cursor: hand; display: block; height: 253px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<div><br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;"><a href="http://plato.stanford.edu/entries/popper/"><span style="color: #aa9b55; font-family: trebuchet ms;">Karl Popper</span></a><span style="font-family: trebuchet ms;">, the great philosopher of science, once divided the world into two categories: clocks and clouds. Clocks are neat, orderly systems that can be solved through reduction; clouds are an epistemic mess, “highly irregular, disorderly, and more or less unpredictable.” The mistake of modern science is to pretend that everything is a clock, which is why we get seduced again and again by the false promises of brain scanners and gene sequencers. We want to believe we will understand nature if we find the exact right tool to cut its joints. But that approach is doomed to failure. We live in a universe not of clocks but of clouds.</span></div><br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;"><span style="font-family: trebuchet ms;"><span style="font-size: x-small;">Wired <em>Contributing editor Jonah Lehrer</em></span></span></div></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-75836766468957239472010-08-15T13:15:00.000-07:002010-08-22T12:42:48.459-07:00Hets<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7zUoJr175nFbMIKOqTAOayTcPDA3k9i042e_L6OH0c7HEiZiqSm2i29STSwe6jQIgP8UCXz1uNy2YjBiZ33JAFR_mNlxxPu2CJ9iqbo9ViXUoNvI6GJEVUTwzyswsWVHyj4seGURxyU/s1600/338-michigantheater.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7zUoJr175nFbMIKOqTAOayTcPDA3k9i042e_L6OH0c7HEiZiqSm2i29STSwe6jQIgP8UCXz1uNy2YjBiZ33JAFR_mNlxxPu2CJ9iqbo9ViXUoNvI6GJEVUTwzyswsWVHyj4seGURxyU/s400/338-michigantheater.jpg" width="400" /></a></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;">If the role of architecture is to create spaces of superior quality, that of motivation and refinement, then one is to ask why the most effectual conceptions in human culture were initiated in treacherous spaces.<span style="font-size: xx-small;">1</span> Many great thinkers flourished and died in deficient spaces. It is possible that uneasy conditions are essential to the path of human nobility. There is something about the 7½ floor and its improbable connection to the head of John Malkovich in the office building that extracted dramatic tension from its actors.<span style="font-size: xx-small;">2</span> Rem Koolhaas argues that human beings are species that easily form to their mold. “People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.”<span style="font-size: xx-small;">3</span> My best work has been so often the result of tormented ulterior conditions. This conditioning might even be interior to the self. It is no secret that many great thinkers have died of terminal illnesses that followed them all along. Tormented conditions that were the result of their containing rather than their container. It was cancer that transfused Sohrab’s body –the late Iranian poet- onto paper in the form of poetry.<span style="font-size: xx-small;">4 </span></span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;"></span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;">Tormented spaces are often ambiguous. The magic of <a href="http://en.wikipedia.org/wiki/K%C5%8Dan">Koans</a> and <a href="http://en.wikipedia.org/wiki/Fortune_cookies">fortune cookies</a> lie in their ambiguity. They are almost universal to any situation and everyone tailors them to their individual zeitgeist. Ambiguous spaces have the same effect, they are far from, yet optimally generic. They are specific by being vague and the feat lies in their complexity. You inhabit your ‘place’ not because of your situation (such as affordability and social status) but because you have ‘found’ them. “[Don Juan] pointed out that I was very tired sitting on the floor, and that the proper thing to do was to find a “spot” (sitto) on the floor where I could sit without fatigue…. [He] clearly emphasized that a spot meant a place where a man could feel naturally happy and strong. …[He] explained to me that not every place was good to sit or be on, and that within the confines of the porch there was one spot that was unique, a spot where I could be at my very best. <span style="font-size: xx-small;">5</span></span></div><span style="font-family: "Trebuchet MS", sans-serif;"><div style="text-align: justify;"><br />
</div></span><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS", sans-serif;">1. A continuum of such spaces are well presented in the ghostly crust of post-manufacturing buildings in the movie 8 Mile (2002, Universal Studios and Dreamworks LLC)</span> </span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">2. <a href="http://en.wikipedia.org/wiki/Being_John_Malkovich">Being John Malkovich</a></span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">3. Katrina Heron, From Bauhaus to Koolhaas WIRED Issue 4.07 - Jul 1996 [When humans bearing the same physical anatomy dwell in such diverse forms of habitat, it is easy to nullify Corbusier’s universal definition of ‘man’.]</span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;">4. </span><a href="http://en.wikipedia.org/wiki/Sohrab_Sepehri"><span style="font-size: x-small;">Sohrab Sepehri</span></a></span></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: x-small;">5. </span><a href="http://en.wikipedia.org/wiki/The_Teachings_of_Don_Juan"><span style="font-size: x-small;">Carlos Castaneda</span></a></span></div><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span><span style="font-family: "Trebuchet MS", sans-serif;"></span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-86865518823624256602010-08-22T12:32:00.000-07:002010-08-22T12:42:27.585-07:00Ecosystem of Bodies<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_PXB3HaGbPq2tNoaAayGyIMo1XjCWamflxhAwAG9NjQKHnA9Eanv0OAB64A97IJ-hhZWgfNcSgBZJagaKe4Oq-g6B4NhprzeY8hNjqzKyM8_AtsA-ZARlWgMw8Axgaox2eubb7PndCwU/s1600/MAMMATUS-clouds-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_PXB3HaGbPq2tNoaAayGyIMo1XjCWamflxhAwAG9NjQKHnA9Eanv0OAB64A97IJ-hhZWgfNcSgBZJagaKe4Oq-g6B4NhprzeY8hNjqzKyM8_AtsA-ZARlWgMw8Axgaox2eubb7PndCwU/s400/MAMMATUS-clouds-2.jpg" width="400" /></a></div><div style="text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;">“My idea is that every specific body strives to become master over all space and to extend its force (--its will to power) and to thrust back all that resists its extension. But it continually encounters similar efforts on the part of other bodies and ends by coming to an arrangement ("union") with those of them that are sufficiently related to it: thus they then conspire together for power. And the process goes on__”<span style="font-size: xx-small;">1</span></span></div><br />
<span style="font-family: Trebuchet MS;"><span style="font-size: x-small;">1- F. Nietzsche, The Will to Power, s.636, Walter Kaufmann transl.</span> </span><br />
<span style="font-family: Trebuchet MS; font-size: x-small;">Image: Formation of intensity in Mamatus Clouds. Jorn C. Olsen 2004</span>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-83125607960074452692010-07-02T23:07:00.000-07:002010-08-22T12:40:45.819-07:00Speed Merchants<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtyM_8jpnTRNDvgCPO2h61DKzwLm-VDASX9aqxly0bjceccvQTHzPQztA_ZKDTkDHIQfhFeaKx5JKVl_rnZYYN-Q77Zfec_zmI2siQXLVrA6remfCBT3xXq83EABsyDC0ravkMuLDFbQ/s1600/Nurburgring2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtyM_8jpnTRNDvgCPO2h61DKzwLm-VDASX9aqxly0bjceccvQTHzPQztA_ZKDTkDHIQfhFeaKx5JKVl_rnZYYN-Q77Zfec_zmI2siQXLVrA6remfCBT3xXq83EABsyDC0ravkMuLDFbQ/s400/Nurburgring2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="text-align: center;"><span style="font-family: "Trebuchet MS", sans-serif;">Emotion > Choreography > Motion > Illusion > Trace > Intent</span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-family: Trebuchet MS; font-size: x-small;">Image: Satellite image of the Nurburgring race track, Google inc.</span></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com0tag:blogger.com,1999:blog-3382027811908492668.post-73366534376283969762010-06-12T21:11:00.000-07:002010-08-15T15:40:25.045-07:00Photon Farm<div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgboHbv6T4rA9cGj5Gw8IN7SV6Ph0SoTV241jkFxzawevd6zcSWP1ByKl-SLUKuAGfksUhgp_UVuE3jU7vGPBxah-th0M6bkN2aq_ga1d3LHsEWBbyz6Hq7A_g4xFjVkbZzQ8lbWghFyOE/s1600/005_001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgboHbv6T4rA9cGj5Gw8IN7SV6Ph0SoTV241jkFxzawevd6zcSWP1ByKl-SLUKuAGfksUhgp_UVuE3jU7vGPBxah-th0M6bkN2aq_ga1d3LHsEWBbyz6Hq7A_g4xFjVkbZzQ8lbWghFyOE/s400/005_001.jpg" width="400" /></a></div><span style="font-family: "Trebuchet MS", sans-serif;">The power of crowd sourcing becomes obvious in its quantum application in a new experiment by the Japanese Space Agency. "A new space propulsion technology dubbed Solar Sail has been put to test in space ... When a photon strikes the surface of the sail, it bounces off, imparting its momentum to the sail. Each photon might not deliver much thrust, possibly a few millionths of a g, but due to its constant impact, it allows a build up of large velocity change over time which is ideal for long space travels."</span><br />
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<span style="font-family: Trebuchet MS;">A photon, frail by itself as a source of thrust yet empowering and essential to the terrestrial ecosystem by its contribution to the photosynthetic process, makes its electromagnetic qualities visible through macroscopic effects. Scientists have demonstrated here that photons are capable of displaying particle qualities by harnessing its power in a swarm state. </span><span style="font-family: "Trebuchet MS", sans-serif;"><br />
</span></div><div style="text-align: left;"><span style="font-family: "Trebuchet MS", sans-serif; font-size: x-small;">Photo of solar sail deployment Courtesy JAXA/JSPEC </span></div>arshiahttp://www.blogger.com/profile/13972012493158477980noreply@blogger.com1