Time crystals could soon escape the laboratory. These quantum systems made of time and light are potential fugitives into our reality.

By shining twin laser beams piped into a tiny disk-shaped crystal cavity this new class of matter was created unexpectedly.

Detected by emitted luminosity, they spin and oscillate to the same height repeating to the same frequency— like ticking clocks with a predictable periodicity, but patterned across time, invisible to sight.

These structures from quantum impracticality, inherent crystalline metronomes might migrate into our future time-keeping technology.

https://www.scientificamerican.com/article/poem-a-quantum-cento/

"Borrowing from Michel Tournier's Vendredi(Paris:Gallimard,1967),Les microbes(p. 171), Latour'sbrilliant and maddening aphoristic polemic against all forms of reductionism, makes the essential point for feminists: "Méfiez-vous de la pureté; c'est le vitriol de l'ame"(Beware of purity; it is the vitriol of the soul). Latour is not otherwise a notable feminist theorist, but he might be made into one by readings as perverse as those he makes of the laboratory, that great machine for making significant mistakes faster than anyone else can, and so gaining world-changing power. The laboratory for Latour is the railroad industry of epistemology, where facts can only be made to run on the tracks laid down from the laboratory out. Those who control the railroad scontrol the surrounding territory. How could we have forgotten? But now it's not so much the bankrupt railroads we need as the satellite network. Facts run on light beams these days

Quote from Donna Haraway: Situated Knowledges (1988). Referenced by Rosa Barba in "Radiant Exposures—Facts Run on Light Beams These Days, 2022"

https://www.estherschipper.com/de/artists/118-rosa-barba/works/28099-rosa-barba-radiant-exposuresfacts-run-on-light-beams-these-days-2022/

Most people thought the world had always been the way it was in their time, and that it will always remain the same. They didn’t understand they lived in historic time.

Excerpt from 'The Ister'.

Tiziana Terranova in response to the hypothesis of the death of the network in the age of platform capitalism formulated by Geert Lovink:

"What we probably can look back on, and many of us are, is the hopeful time of networks, when it was still possible to see new possibilities in the network topos, rather than just the reorganization of power. It might be possible to perceive, even now, what networks might eventually give in to, something emerging at the very limits of hyperconnectedness and the proliferation of correlations that have displaced modern notions of causality. If I had to place a bet on what this something might be, I would put it on technologogies that employ quantum-theoretical models of entanglement (rather than connectedness) and "spooky" models of causality. It might be possible that this is where new technologies of power and struggles for emancipation from the grip of economic, social and cultural relations might have to unfold."

Email exchange of Geert Lovink and Tiziana Terranova, cited in Lovink: Stuck on the Platform (2022)

Just as the easiest bodies to see are those that are neither very near nor very far, neither very small nor very great, so the easiest conceptions to grasp are those that are neither very complex nor very simple (using “simple” in a logical sense). And as we need two sorts of instruments, the telescope and the microscope, for the enlargement of our visual powers, so we need two sorts of instruments for the enlargement of our logical powers, one to take us forward to the higher mathematics, the other to take us backward to the logical foundations of the things that we are inclined to take for granted in mathematics.

"Why it took 379 pages to prove 1+1=2"

https://people.umass.edu/klement/imp/imp.html

https://www.youtube.com/watch?v=AwbZaTjXo-s

@ Up To Date Festival 2020

Lockheed AC-130

Information travels around the world in milliseconds. A user is (through interfaces) linked to different locations almost simultaneously, with an almost imperceptible difference in time.

These images display various false localities of a specific data connection. They don't exactly correspond to the real routes the data packets take but display the locations where the corresponding Internet Service Provider (ISP) is located. The IP addresses of the various stopover (called "hops") are determined by using the 'traceroute' command available on every computer. Images from the locations come from Google Maps and they're layered with different blend modes.

Galloway draws from a different philosophical tradition, including thinkers such as Martin Heidegger, which “views 'techne' as technique, art, habitus, ethos, or lived practice.” In this view, media are not “objects or substrates” but rather “practices of mediation.” [...] Thus, Galloway’s method shifts attention from stable interface objects to dynamic interface processes. A computer, from this perspective, is no longer a media machine that standardizes and absorbs all other media, including print texts, audio recordings, films, and games; it is a process of translation among different states.

https://lareviewofbooks.org/article/the-next-level-alexander-r-galloways-the-interface-effect/

At least the gods of ancient Greece had the nerve to watch their subjects slaughter each other. Perched high atop Mount Olympus they cried over the massive and useless killings at the walls of Troy. The deities were moved by the blood-curdling screams of soldiers dying at the hands of their fellows. Drone pilots, on the other hand, are afforded the luxury of launching a missile from thousands of miles away. Victims of such attacks are buried under rubble or blown into unrecognizable pieces. The dead are the unseen dead. Killing becomes abstract and war is made easier.

https://lareviewofbooks.org/article/virtual-violence/

Building a Virtual Machine inside of ChatGPT

Joseph Mallord William Turner: The Angel Standing in the Sun (exhibited 1846)

Referenced by Trevor Paglen in this short documentary https://art21.org/watch/extended-play/trevor-paglen-power-perspective-short/

Inspired by J. M. W. Turner’s painting, The Angel Standing in the Sun (1846), Reaper in the Sun (2013) depicts a drone aircraft flying above a military base in the Nevada desert. “In the sky, there traditionally is a promise of openness or freedom; but, the sky itself has been turned against us,” says Paglen, who describes the drone as the “punctuation mark.”

Trevor Paglen, CLOUD #603 Watershed (detail), 2019, dye sublimation print, 48" × 60" (121.9 cm × 152.4 cm), Edition of 5 + 2 AP © Trevor Paglen

s is a yellow letter in my synesthesia I mean my synesthesia scheme

can you hear sunrays? see trumpet calls? taste the shape of words?

if you spell synesthesia with an a (synaesthesia) everything changes because a is red

From: Alternating lunes By Philip Good and Bernadette Mayer

Again, I don't think visuality is a good way to think about computation in the first place. But if we do elect to use visual metaphors, the computer really isn't a surveillance machine in the narrow sense, it's most certainly not a panopticon, and it's not characterized by centralization. If anything the computer is a reverse panopticon, characterized by decentralization and distribution. Attention to visuality and centralization misrepresents the machine, and Agre, contra Zuboff, offers a better way to understand these complex issues.

Alexander R. Galloway: Agre > Zuboff

From 'Breathing Archives' Workshop w/ Lars Pinkwart.