d

// START

H|U|M|B|O|T <http://www.hubmot.org>

Philip Pocock <P02>, Daniel Burckhardt <D03>, Udo Noll <U04>, Florian Wenz
<F01>, Gruppo A12 <A12>, Roberto Cabot <R13>, Wolfgang Staehle, Juergen
Enge, Gregor Stehle and øthers.

<EPresley - Memphis - Sun Session Recording 1955>i forgot to remember to

forget.</EPresley>

<GDeleuze - Spinoza et le problème de l'expression, - 1968>History is

essentially longitudinal, memory essentially vertical. History essentially
consists of passing along the event. Being inside the event, memory
essentially and above all consists of not leaving it, staying in it and
going back through it from within.</GDeleuze>

<A12 - Genoa - Shanty Functionalism? - 15.10.99> h|u|m|b|o|t is a project

that involves many different authors, circa 20, each with their own area of
expertise. It is a project where a simple single leading concept doesn't
exist, because it is the sum of different layers that interact with points
of contact in an ongoing process, building and accumulating regions of
interaction. The ordering element is the explorer and mapmaker, Humboldt.</
A12>

<h|u|m|b|o|t - king.dom.de/humboldt/coredump> The master of the air. He

fills an old canoe with good support. anyway, the discussion in a poor man
crying for hypertext is this. polymathy is also the whole thing for the
installation. remember paris? the space with a specific context: it is a
daisy-chain. let's open a pipe which eats MIME-messages and writes multi-
parts to distinct files based on Judd at a certain facility. at the very
latest i may go earlier but then it will be here and make the timeslot.
What the hell is this a concept? During a trip in the OK corral, i dont
think you need a better spot to find out if the thing is a group of 10
toises around any given writing subject.</h|u|m|b|o|t>

<P02 - Karlsruhe - T(r)opical Chor(e)ography - 14.02.99> 05.06.1799.

Alexander von Humboldt takes his first step into a virtual maze of
mischarted territory, heading across oceans, up and down rivers, through
jungles and swamps, over plains and peaks, around the forsaken torrid zone
of equinoctial America. Accompanied by an indefatigable confrère, M. Aimé
Bonpland, and a provisional host of itinerant liaisons between station and
stopover, they all arrive at their quasi-fictional characters in a shared
documentary epic unfolding in 30 tomes over 20 years (1807 - 27) - text
mappings and passages - stemming from Humboldt's pen. Humboldt (and his
readers) enter the chôra between human nature and nature, in the trajective
space linking private mappings (psychogeography) and public mappings
(geography). The Humboldt expedition endures 5 years (1799 - 1804) and
still endures 2 centuries later as a cluster of topoi, conceptual starting
points, for tele-travelers rehearsing a getting-around on the 7th
Continent, where the affective spatiotemporal measure of geography is
drawing to a close.</P02>

<AvH - Paris - "Personal Narrative of a Journey to the Equinoctial Regions

of the New Continent" - 1811> "The more travelers research into natural
history, geography or political economy, the more their journey loses that
unity and simplicity of composition typical of the earlier travelers. It is
now virtually impossible to link so many different fields of research in a
narrative so that what we may call the dramatic events give way to
descriptive passages".</AvH>

<CHAT - Subject: ........ - Tue, 27 Jul 1999 23:10:16.>[1]philip: it's not

the yanomami in the jungle, it's where the rivers meet, and how they
wind...
[1]philip: rivers are video: 'time moving through space.'
[2]f01: actually boils down the aesthetics quite a bit.
[0]udo: While, like a rapid ghastly river,
[1]philip: it comes from trying to put in the xml markers for 1000 hours
here.
[2]f01: also connects nicely with data , chat etc.
[0]udo: Through the pale door.
[0]udo: A hideous throng rush out forever.
[1]philip: yes, Raudales, cataracts....
[0]udo: And laugh - but smile no more.
[1]philip: on the shores of never again....
[2]f01: keep going.
[1]philip: it's a river to me now, the whole thaaang.
[1]philip: we need some river dramaturgy, performance ideas?
[0]udo: and it's drawing a map of a river while u don't know where the
river goes, so future can influence the whole (past) thing.
[2]f01: thing of fabrizio with infusions stuck all over his body.
[1]philip: yes, a river is as i think heine said, the source, the place you
stand and the mouth of it at the sea at the same time.
[0]udo: i mean this orinoco picture...
[1]philip: it is like a scan line, time through space. time-based art, 5
years, 5000 rivers.
[2]f01: then we should have paddles.
[2]f01: instead of mice.
[1]philip: well, that point is near a village called Piedro Lais (Piedro =
rock) up the orinoco is Esmeralda...
[2]f01: you will be on a boat as i read the travel schedule.
map, a sextant, a compass....
[0]udo: when u posted this image, i imagined being there without a map, a
sextant, a compass....
[1]philip: and up from Esmeralda is MAP ROCK!!! Piedra Mapaya. that's the
route...
[0]udo: only rainforest and water .
[1]philip: AvH chipped off a piece of Map Rock, he writes.
[2]f01: and steamy fog, another flow.
[1]philip: then he turned north again.</CHAT>

<R13 - Cologne - h|u|m|b|o|t.release - 04.07.99>in the era of mass tourism,

where every place seems to have been reached, the artists accomplish a re-
location of the travel. In form and content, the artists go on an exploring
journey, in which, using the communication technology of the internet, they
sketch a narrative structure oriented by the methods of cartography.</R13>

<Melquíades - GGMarquez - "100 Years of Solitude - 1967> "They placed a

gypsy woman at one end of the village and set up a telescope at the
entrance to the tent. For the price of five reales, people could look into
the telescope and see the gypsy woman at arm's length away. 'Science has
eliminated distance,' MelquÌades proclaimed. 'In a short time, man will be
able to see what is happening in any place in the world without leaving his
own house".</Melquíades>

<A12 - Milano - THE FOLLOWING TEXT IS MEANT TO BE OPERATIONAL AND

PRACTICAL, SO THERE WOULD BE NO QUOTATIONS, ONLY IMAGES - 22.05.99> A
firewall is an electronic protection to avoid intruders to break into a net
system and cause damage. It creates and inside and an outside. To get into
the inside you need to know the coded words to get in. Then sometimes you
slide inside, sometimes you crawl under a small passage, sometimes you
climb a stair, sometimes you enter a tunnel. The intention is to inject
real life and confusion into a system, the Internet, seen as lacking any
physical presence. The hypothesis is to give physical evidence to one of
the metaphors of Humboldt: the travel as an intimate, personal discovery of
the self. The intention is to have that space as an hypnotic womb, in
opposition to the active and dynamic piazza outside.</A12>

<PVirilio - Brazil - "Open Sky" - 1997> " There is little understanding of

the vectorial nature of the transhumant species that we are, of our
chôrography. Between the subjective and the objective it seems we have
little room for the trajective, that being of movement without which we
will never achieve a profound understanding of the various regimes of
perception of the world".</PVirilio>

<P02 - Karlsruhe - Dai.lies - 10.10.98> h|u|m|b|o|t on-line is a hypermedia

'well' fed by audiovisual traces of situations encountered by its authors
in contemporary Cuba and Venezuela and øtherWhere (1999 - 2004). This
evolving matrix of knowledge is mapped according to a connective topography
with a cut-up version of AvH's "Personal Narrative". An activist aesthetic
arises in the Zwischenraum spanning the authors' hypernarratives, added to
the 'well' over time, and paths trodden by our participants, drawn from
A

this 'well' of experience, each leaving a trace that informs future user
itineraries. In short, authors (AvH and h|u|m|b|o|t) realize a
'cyberatlas', through which users may 'travel' in search of 'moby'.</P02>

<Ismael - HMelville - The Chart - 1851>: "... in the solitude of his cabin,
Ahab thus pondered over his charts. Almost every night some pencil marks
were effaced, and others were substituted. For with the charts of all four
oceans before him, Ahab was threading a maze of currents and eddies, with a
view to the more certain accomplishment of that monomaniac thought of his
soul".</Ismael>

<F01 - Zürich - flatbook/flatmovie - 08.06.99> So the idea is that there

are two maps humboldt (him) and h|u|m|b|o|t (us) that have their own
keyword system and visual identity and then are woven into each other, by
collapsing keyword space into one. The thing will store input from authors
as objects with properties and organize it in multidimensional maps
according to selected properties. These maps are being displayed from
different positions and perception modes, output media etc. to other
authors/users who will perceive the objects and generate more
input/properties ... cycle ad infinitum = knowledge metabolism machine /
collective brain / social technology.</F01>

<h|u|m|b|o|t - king.dom.de - de-River - 01.08.99> 12.05.1800: An unlikely

tributary stealing water from the Orinoco - the Rìo Casiquiare - is
discovered by Bonpland and Humboldt to spill into the Rìo Negro, which in
turn flows into the Amazon. The quest for a gateway linking the Orinoco and
Amazon is answered.</h|u|m|b|o|t>

<WHeisenberg - USA - "Physics and Philosophy" - 1963> "One has now divided
the world not into different groups of objects but into different groups of
connections ... The world thus appears as a complicated tissue of events,
in which connections of different kinds alternate or overlap or combine and
thereby determine the texture of the whole".</WHeisenberg>

<AvH - ibid>: "Rather than discovering new, isolated facts I prefer linking
already known ones together".</AvH>

<U04 - king.dom.de - wider landscapes in mind - 25.07.99> eine sache macht

mir kopfzerbrechen. wir hatten in koeln darueber gesprochen Kohonen
ermittelt nach jedem durchlauf fixe relative positionen, die sich sonstwie
abbilden lassen. in meiner idealen welt muesste Kohonen (*) aber in sehr
kurzen zeitabstaenden laufen, um die vom visitor beschrittenen wege zu
beruecksichtigen und auf die dadurch entstehenden relationen reagieren zu
koenne. grob gesagt muesste jeder klick registriert werden (pro user, pro
session also) und verglichen mit anderen 'pattern'. was sieht man auf so
einer map?</U04>
(*) A Kohonen map is a Self-Organizing Map (SOM) using Artificial Neural
Network techniques to clarify relations in a complex set of data.
http://odur.let.rug.nl/~kleiweg/kohonen.html.

<MAIL - Subject: jamming - Wed, 26 May 1999 13:20:03.> PROPOSED TITLE OF

PROJECT: H|U|M|B|O|T : Transhumant Mappings of ASCII Journeys through the
Seventh Continent.
why not - Magical Mystery Transhumant Superphilosophical Hypermappings of
ASCII Endless Journeys in a Group Full of Content and Intellectually Well
Thought Through the Seventh Continent and Some Other Places We Still Are
About to Invent but Nobody Knows About Yet - for the subtitle?</MAIL>

<D03 - Berlin - flash for h|u|m|b|o|t - 25.07.99> ich würde nicht direkt
¸ber die räumlichen anordnung der orte reagieren aber bei der
_darstellung_der orte, auf die aktion des users. wir müssen ein
pasigraphisches system aufbauen. ich mache mich gerade hinter die konkrete
realisation eines fixen entwurfs, um zu sehen, was er taugt, und den
anderem möglichkeiten für feedback zu geben, was bei einer rein
platonischen idee schwieriger ist.</D03>

<DTofts - http://www.mcs.mq.edu.au/content/Virtual Cultures/vc7-tofts-

paper.html - "ABC of Cspace" - 1996> chôra: "Plato's term for space,
discussed at length in the 'Timaeus'. In that text Plato discusses space as
that which comes between being and becoming". chôrography: "a highly
powerful concept of writing as a creative space that creates complex and
unexpected relations from and within the matrix of the autographical
writing subject".</DTofts>

<A12 - Genoa - multi-individual - 15.10.99> As much as the authorship of

the h|u|m|b|o|t website is multi-individual, the responsibility of its
presence in the first Lichthof of the ZKM is multi-individual: technical
requirements, desires, security impositions, the many and different skills
of several workers, various and complex, sometimes opposed cultural
backgrounds (it might sound like a silly joke, but although all the staff
of ZKM marvelously supported all our ideas and made us able to realize the
project, we are sure that no one will ever buy in the future an Italian
car). All these and a thousand more ingredients compose the h|u|m|b|o|t
favela. Like in a card-deck, all the elements of architecture were all
present during the process, but mixed in a different order. But not only
identities and the relationships between their social and creative roles
are blurred, but much more, the disciplines which seems to be inserted in
the project. In its totality h|u|m|b|o|t works as a overlapping of various
layers (the wood, the maps on the web-site, the images running on the
screens, the historical traces), which fold and create points of contact
and accumulation, where new spaces are created, in a dynamic system, where
in real time everything is modifying.

<RSmithson - Artforum - "A Sedimentation of the Mind" - 1968> "Words and

rocks contain a language that follows a syntax of splits and ruptures. Look
at any word long enough and you will see it open up into a series of
faults, into a terrain of particles each containing its own
void".</RSmithson>

Why shanty functionalism? The core of the h|u|m|b|o|t architecture is just

to have what's needed in order for the space to be useful and comfortable,
so the machines can work properly, so the users may be able to enter the
project freely. There wasn't a clear concept or poetic to rationally
develop following some sort of hierarchy. The process of design wasn't
canonical, because it sought the interaction of all involved in the project
convinced that cyberspace is found on both sides of the screen, inside the
cathode tube as well as inside the museum space. This attitude magnified
any possible dysfunction and diseconomy: in fact it has been a process of
construction deriving from a trial and error technique. This means that
Humboldt's steps where traced in the books, in the jungle and in the web
site; the installation was built without one drawing, moving large amounts
of furniture, making temporary spatial sketches (that only the museum's
closed circuit cameras may testify), bargaining for space and compromises
with the curators and the resulting sum of the elements is just one step of
this ongoing process. Therefore the mass of energy and material spared
become almost ridiculous. In its sponge-like attitude of inclusion, either
of positive but also of negative elements, the h|u|m|b|o|t installation
works as a relational architecture, physical evidence of immaterial
processes.</A12>

<AvH - ibid> "In considering the study of physical phenomena, not merely in
its bearings on the material wants of life, but in its general influence on
the intelligent advancement of mankind, we find its noblest and most
important result to be a knowledge of the chain of connection, by which all
natural forces are linked together, and made mutually dependent upon each
other; and it is the perception of these relations that exalts our views
and ennobles our enjoyments. Such a result can, however, only be reaped as
the fruit of observation and intellect, combined with the spirit of the
age, in which are reflected all the varied phases of thought".</AvH>

<ARStone - The War of Desire and Technology - 1996>"One person in many

bodies, or many persons in one body." </AStone>

<P02 - Shift Gallery, Berlin - 1999>our most common agency is grammar. its
potency is a measure of its host identity's adaptive viral nature. agency
is the 'physics of virtual reality,' an art of remaining oneself while
rearranging one selves, having made the decision that conversation is the
only way forward. the www facilitates the fact that all text is hypertext.
'you have new mail.'

<WBurroughs - Feedback from Watergate to the Garden of Eden - 1970> "a

virus is a very small unit of word and image."</WBurroughs>

The closer media reside to original ideas, the more language-based they
remain, the more mutable and virtual they may appear, however faintly, and
the more immaterial and transportable (participatory) their aesthetic
becomes. 'attention shifts from the object to its receiver(s).' <a href =
"GBattcock - The Aesthetics of Boeing - 1979">

<CMarker - immemory, cd-rom - 1997]"Mon hypothèse de travail était que

toute mémoire un peu longue est plus structurée qu'il ne semble. Que des
photos prises apparemment par hasard, des cartes postales choisies selon
l'humeur du moment, à partir d'une certaine quantité commencent à dessiner
un itinéraire, à cartographier le pays imaginaire qui s'étend au dedans de
nous."</CMarker>

when the audience goes home with the author(s), the story resumes.
hypermedia fold audiences into authorship through an shared awareness that
information is non-verifiable yet viable - an art material. artists-
working-with-networks produce data-architecture, social technology and
hypernarrative aesthetic linings inside bubbles of cyberspace obliscence.</
P02>

<h|u|m|b|o|t - king.dom.de/humboldt/coredump - 2000-03-29> Towards the end

of the viewer, means a good hiding place, you find 2 joysticks, $5 each. I
think Plato knew perfectly well that on the Andes between Quito and on top
of the crater following a guest out, little men and tigers did not seem to
fear the sight of the ZKM database and how the system designers map this to
eliminate my name after gruppoa12.</h|u|m|b|o|t>

// END

Date: Sun, 19 Mar 2000 12:30:36 +0100

From: Daniel Burckhardt <daniel.burckhardt@sur-gmbh.ch>

h|u|m|b|o|t (http://www.humbot.org) is an ongoing project of a group of

people coming from a diverse set of backgrounds (writing, painting,and
science studies). Alexander von Humboldt's "A Personal Narrative of a
Journey to the Equinoctial Regions of the New Continent" which describes
his journey in South America from 1799 to 1804 forms the basis of our
research into non-linear story-telling. h|u|m|b|o|t is using the Internet
and the World Wide Web as a distributed presentation and participation
environment. In realspace environments of h|u|m|b|o|t as in the exhibition
net_condition at the ZKM (Center for Arts and Media) in Karlsruhe we are
exploring the connections and interfaces between realspace and cyberspace.

By adapting algorithms such as Kohonen's self-organizing maps (SOM) for the

organization of original artworks of the project members like video or
text, we confront scientific visualization with artistic content, two
fields with a long history of close relations (development of the
perspective, drawings of plants and animals) and a prominent topic in
Humboldt's own work (cross-section of the Chimborazo, development of
isothermal lines as a new means of data representation).

In our presentation of the h|u|m|b|o|t project, we will show the interface

and some of the content and will illustrate the techniques used to build it
(data-architecture, self-organizing maps). Though h|u|m|b|o|t was not
formed primarily as a research project, the implementation of the website
leads to a number of research related issues such as user-tracking and
dynamic site-restructuring. In the analysis of visitor-actions we cannot
resort to already available solutions and therefore new approaches are
being developed by the team. This continuous evolution of artistic and
scientific research is another common feature of h|u|m|b|o|t and Humboldt.

Date: Tue, 08 Jun 1999 23:46:35 +0200.

Subject: flatbook/flatmovie.

all:

here are four images, that explain the flatbook idea.

this is an attempt to find a SIMPLE architecture, that clarifies what we

are doing and at the same time leaves enough space for the madness to come.

i'm doing a "mental prototype" regardless of how this can be implemented,

shouldn't be too difficult, though ...

so the idea is that there are two maps "humboldt" (him) and "HUMBOT" (us)
that have their own keyword system and visual identity and then are "woven"
into each other, by collapsing the keyword space into one. see daniel's
example with the 1000 keywords, imagine the same for our content in our
language and then FOLD ...

-----------------

layer01.gif (the humboldt layer) (FLATBOOK)

dark green rectangles: the paragraphs of the book arranged in a grid

according to keyword based kohonen mapping, format VERTICAL for text
reading, scrollable.

-----------------

layer02.gif (the HUMBOT layer) (FLATMOVIE)

light yellow rectangles: our content (mainly visual) arranged in a grid

according to keyword based kohonen mapping, format HORIZONTAL for visual
content.

-----------------

weave.gif (the map: both layers literally woven into each other)

----------------

kohonen.jpg: the maps can then include more information, chaos theory,
roads, rivers, digital handwriting etc.

-----------------

can you dump this into the site?

f.

>From robot@king.dom.de Tue Nov 24 21:39:35 1998

Envelope-to: M1514-00@inka.de
Date: Tue, 24 Nov 1998 21:39:28 +0100
From: un <un@king.dom.de>
To: humboldt@king.dom.de
Subject: No subject was specified.
Mime-Version: 1.0
Sender: robot@king.dom.de
Precedence: bulk
Reply-To: humboldt@king.dom.de
of or relating to the practice of science

conforming with the principles or methods used in science

of or pertaining to a philosophy asserting human dignity

and man's capacity for fulfillment through reason and scientific method and
often rejecting religion

marked by humanistic values and devotion to human welfare

narration, narrative, story, tale, yarn, recital

=> report, account
=> informing, making known
=> speech act
=> act, human action, human activity

sample
=> natural object
=> object, physical object
=> entity, something
sample
=> distribution
=> arrangement, organization, organisation, system
=> structure
=> cognition, knowledge
=> psychological feature
sample
=> example, illustration, instance, representative
=> information
=> cognition, knowledge
=> psychological feature

a small part of something intended as representative

of the whole

all or part of a natural object that is collected and

preserved as an example of its class

going for red wine now ;-)

(wine, vino -- fermented juice)
u04

>From robot@king.dom.de Tue Nov 24 11:34:06 1998

Envelope-to: M1514-00@inka.de
Date: Tue, 24 Nov 1998 11:34:01 +0100
From: un <un@king.dom.de>
To: humboldt@king.dom.de
Subject: No subject was specified.
Mime-Version: 1.0
Sender: robot@king.dom.de
Precedence: bulk
Reply-To: humboldt@king.dom.de

Tuesday morning, wider landscapes in mind

* a diagrammatic representation of the earth's surface (or part of it) * a

function such that for every element of one set there is a unique
element of another set

- explore or survey for the purpose of making - locate within a specific

region
- plan, delineate, or arrange in detail
- represent

map
=> representation
=> creation
=> artifact, artefact
=> object, physical object
=> entity, something

map
-> representation
=> audiogram
=> copy
=> cosmography
=> creche
=> cutaway, cutaway drawing, cutaway model => display, presentation
=> effigy, image, simulacrum
=> illustration
=> map
=> model, simulation
=> nomogram, nomograph
=> picture, image, icon, ikon
=> pieta
=> projection
=> rubbing
=> stage set, set
=> stations of the Cross

mapping, map, correspondence

=> function, mathematical function
=> mathematical relation
=> relation
=> abstraction

mapping, map, correspondence

-> function, mathematical function
=> inverse function
=> transformation
=> mapping, map, correspondence
=> operator
=> trigonometric function, circular function => threshold function
=> exponential, exponential function

world information/knowledge 1350 petabytes

100 million internet users, 1 million more added each month.

shelflife of an internet document 45 - 70 days.

2 trillion bytes (2 terabytes) of text, images, video, audio on the

internet.

more documents than in the us library of congress., in which:

- 20 million books equals 20 trillion bytes (20 terabytes).
- 13 million photographs equals 13 trillion bytes (13 terabytes) in jpeg
format.
- 4 million maps and plans in the geography dept. equals 200 terabytes.
- 500000 films equal 500 terabyes in mpeg format.
- 3,5 million sound files (20000 wax cylinders with 700 hours) equal 2000
trillion bytes (2000 terabytes of 2 petabytes).
total: 3 petabytes

each year all the 40 million knowledge producers in the us produce 40

terabytes.

extrapolated to the whole world and the added knowledge per year is 160
terabytes, less than 1% from books and magazines.

the 5000 new films each year in the world produce in middle quality 185
terabytes.

each year 52 million photos are produced globally that produce with high
compression 520000 terabytes (520 petabytes)

for television programs, in the us 20 petabytes and in the rest of the

world 80 petabytes are produced annually.

for radio programs, in the us 1,7 terabytes and in the rest of the world
6,8 terabytes are produced annually.

for music industry, in the us 15 terabytes and in the rest of the world 60
terabytes are produced annually.

500 billion long distance calls in the us in 1994, 20 times more local
calls the us telephone calls alone produce 4000 petabytes or 4 exabytes
alone.

4606 petabytes (4,6 exabytes) per year of digitizable information produces

in the world.

all computers sold in 1998 can contain 12 exabytes.

in the year 2000 all telephone calls, sound recordings and films could be
stored digitally therefore. (michael lesk)

during a 60 year life a person stores 150 - 225 megabytes of information or

long term memory. for 6 billion persons that makes 1350 petabytes of human
spirit

FAZ 1999

-----------------------------------------------
Daniel Burckhardt, mathematician, data-architect.
*1971 in Meiringen. Lives and works in Berlin und Zürich.
Roberto Cabot, media artist, painter.
*1963 in Rio de Janeiro. Lives and works in Köln.
Jürgen Enge, programmer.
* 1971 in Bühl/ Baden. Lives and works in Karlsruhe.
Udo Noll, net activist, founder of king.dom.de.
*1966 in Hadamar. Lives and works in Köln.
Philip Pocock, media artist,photographer, writer.
*1954 in Ottawa. Lives and works in Ireland and Karlsruhe.
Wolfgang Staehle, media artist, founder of THE THING
* 1950 in Stuttgart. Lives and works in New York.
Florian Wenz, datatect for social technologies.
*1958 in München. Lives and works in Zürich und Berlin.
Gregor Stehle, sculptor and Zen buddhist monk
* 1972 in Karlsruhe. Lives and works in the Alsace.
Gruppo A 12
1993 founded in Genova. Activities focused on architecture,
urbanism, contemporary art and design. Involved are Nicoletta Artuso,
Andrea Balestrero, Gianandrea Barreca, Antonella Bruzzese, Maddalena
De Ferrari, Francesca Di Salle, Fabrizio Gallanti, Massimiliano Marchica.

-------------------------------------------------------------------------

<h|u|m|b|o|t - king.dom.de/humboldt/coredump - 2000-03-29> Epistemic, the

emphasis is on the eth server :-). Sandra really wants me out of the
artistic context. We are not that complex. There could be a trivial
difference from *has_red* or *has_movement.* There is almost no real
operational difference between the objects. The classes, that can analyse
XML formatted text, we will transfer to the port of Orotava, and that
includes myself. Codewise we have to go into natural history, geography or
political economy. The more we study the distribution of beings, a grass
from Switzerland grows on he who struggled to overcome the constraints book
technology placed upon his texts which we move textually/audiovisually/etc.
As we tend to associate landscape with environment in the project, and to
get one thing DONE could there be then a login which the goat hunters we
met through some white camels, barely laden. These animals are mainly used
to redhat with which i'm working at my own trivial mistakes and loss. we
also need something for presents for contributors over the planet, and so
on. i'll simply use php to dump it into your hearts. CHOROGRAPHIA: 1a-
description of what i am concerned about a site that was unfortunately
"leveled" by focus on what the P_P factor. still felt for multimedia.
reinstall it and it can toast. Maybe some nativetonguers can double and
triple check, although this is only one travel day out. that can be done by
the Nostrils of the **nature** of our measurements, for La Silla gave place
to fleece his new sheep. his fellow men that sent him the two takes is
where the type is color-coded and related words are an architect? And who's
the artist? forget the color of a pretty good time. 8/28/94, it's that time
for...DOO-DADS AND THINGS, PART II!!! in about two weeks it should be
simple but we had to abandon Europe; a secret voice told me he knew Larry
Anderson, who was only 3 feet wide. Three people are the foundation of
Aristotle's Rhetoric. They provide a new background map for each layer -
like for my dismay and my scrubby chin in the group for bonn.</h|u|m|b|o|t>

<h|u|m|b|o|t - king.dom.de/humboldt/coredump - 2000-03-29> there's no depth

for now, at least. Not a lot of river branching. This branch emerges from
the pumice-stone dust. In the New World, as in Peru and Mexico, which
contains in miniature all the province of Venezuela, Caracas standby crew -
Roberto and Wolfgang - IMMERSED IN ALPHABET CITY cross our contemporary
anxieties and anticipations concerning new technologies parallel to the
ambience of classical Athens in hell, a place where nature is more grand
and richer, and in its way meaningless, so someone got mixed and matched.
if i look back more, and i think in german they call that inconsequent, and
it was only critic and abuse. remember elvis: *before you accuse, criticize
or abuse walk a mile in my path, proceeding with commendable generosity
given I had difficulty in persuading them to points on the page there. This
could be backed up at astrid's when you're there. we just have to apologize
for the logistics of assigning codemaking, we should give Linus a call?
great to here that the Swedish Consul, who passed through narrow defiles
and small, old ravines cut by torrential waters leaving these strips of
land routes from the guardian father of the Logos that was in the *out
world* as discussed this afternoon ;-) .</h|u|m|b|o|t>

Meme: an information pattern, held in an individual's memory, which is

capable of being copied to another individual's memory. Memetics:the
theoretical and empirical science that studies the replication, spread and
evolution of memes

------------------------------------------------------------------------

Testimoño del ”Morocho”, militante de derechos humanos,a respecto del

problema indígena en Venezuela, 16\8\99 22:45 CARACAS

(SPEECH BY ”EL MOROCHO”, HUMAN RIGHTS ACTIVIST, ON THE INDIAN PROBLEM IN

VENEZUELA, 16\8\99 22:45 CARACAS)

”...como el caso del indígena que fue preso por que le habían incriminado
de la muerte de una persona aqui en Caracas, y yo tuve que buscarle un
guarao por que estaba preso y estaba sin defensa, por que nadie lo
entendía. Aqui muchos indígenas no hablan español, depende si es que
tuvieron contacto con los misioneros, que son los principales
alfabetizadores. Cuando ellos no están, sólo hablan su lengua y hay que
buscarle traductor.

Hay una ley indígena tradicional, que proviene del consejo de ancianos que
es lo que mantiene la comunidad indígena, pero hay indígenas que se
vinculan a la metrópole y terminan urbanizándose, abandonando la comunidad
y refugiándose en un mundo de ilusiones, de simulacros, en el que hacen del
papel de indígena un factor de prevenda y de beneficio, olvidándose así del
motivo porque salieron de su comunidad. Y así empiezan a buscar lucro,
prestigio social, poder político. Viven un modo de vida que se parece al
que nosotros tenemos y cuando hablas con ellos sobre lo que está pasando en
su comunidad ellos te dan referencias sumamente abstractas... ideales,
harmónicas, casi que románticas. Luego cuando vas a la comunidad de ese
indígena, te das cuenta que ha definitivamente perdido las raízes, porque
cuando hablas con sus parientes ves que ellos viven en condiciones
dantescas, casi infernales. Mientras que él está viviendo en un confort de
lo más cómodo. Y tu dices: ¿que tipo de indígena es este que no se ve
reflejado en la lucha de su pueblo? porque su comunidad está sufriendo un
genocídio, o como le llaman, aculturación, en el olvido de su origen. En la
lucha en el campo institucional hay muchos indígenas que se han destacado,
pero hace falta mucho trabajo de organización.”

H|U|M|B|O|T

Eine Reise durch den 7. Kontinent

Installation im Zentrum für Kunst und Medien, Karlsruhe, im September 1999.

Beschreibung

Humbot ist ein Internet Projekt in dem sich die neue Erfahrung des
virtuellen Reisens mit dem traditionellen Erlebnis des Reisens auf
verschiedenen Ebenen verbindet. Diese Verbindung wird erzeugt durch eine
neue Lektüre der Reisetagebücher von Alexander von Humboldt mittels der
Gestaltung einer interaktiven virtuellen Installation. Die Konzeption und
Regie wird von einem aus 6 Autoren bestehenden Kollektiv geführt, in
Zusammenarbeiten mit weiteren Autoren. Zwei Teams unternehmen jeweils eine
Reise zu zwei Hauptzielen der explorativen Reisen von Humboldt und sammeln
Material in Form von Photos, Videos, Klängen, Texten, Zeichnungen. Mit
diesem Material wird eine online Datenbank gespeist, in der sich auch der
für dieses Projekt zum ersten Mal digitalisierte Text “Personal Narrative
of a Journey to the Equinoctial Regions of The New Continent” von A. von
Humboldt befindet. Das von den Künstlern gesammelte Material wird dann nach
dem Modell einer geographischen Karte strukturiert und durch eine eigens
für das Projekt entwickelte Software über das Internet zugänglich gemacht.
Der Benutzer ruft die gespeicherten Daten durch Input von Text ab: Wenn er
ein Wort oder einen Satz eingibt, wird dies mit Hilfe von Kennwörtern und
Textmarkierungen mit Humboldt‘s Text verglichen werden. Je nach
entstandener Verbindung wird ein oder mehrere Beiträge des von den Autoren
auf den Reisen gespeicherten Materials aufgerufen. Eine neue Karte entsteht
aus der Summe der aufgerufenen Autorenbeiträge und des Benutzer-Inputs,
der somit auch zum Autor wird. Diese Karte ist dynamisch und verändert sich
mit jedem neuen Input in die Datenbank. Sie wird gespeichert und kann dann
von dem Benutzer wieder aufgerufen werden, so daß er das Ergebnis, sprich
die Landschaft, die aus der letzten “Session” entstanden ist, wieder
besichtigen kann. Ähnlich wie ein Film der unterwegs gedreht wurde, kann
der Benutzer seine Reise durch die Site wieder betrachten. Da der Text von
Humboldt gleichzeitig Leitfaden und Struktur gebendes Element ist,
entstehen alle Ergebnisse aus einer Verbindung mit seiner Welt, seinen
Ideen, seinen Erfahrungen. Diese werden dadurch neu interpretiert, neu
organisiert, neu gelesen. Dazu gibt es auch einen Chat in dem der Benutzer
mit einem Chatbot (Chat Automat), der mit Humboldts Texten geladen ist,
Gespräche führen kann.

Diese virtuelle Installation wird in der ZKM Austellung in Zusammenhang mit

einer analogen Installation präsentiert. Diese Installation im Museumsraum
besteht aus einer mit Gütertransportpalletten gebauten Struktur, die einen
Raum definiert. In diesem befinden sich Rechner mittels derer man mit
Humbot agieren kann. Einer der Rechner ist an einen Beamer angeschlossen.
Auf einer anderen Projektionsfläche sieht man einen laufenden Dialog
zwischen einem Besucher und dem Chatbot. Der Raum wird weiterhin mit
Matrazen, Bildschirmen (auf denen Videos von den Reisen der Autoren
laufen), Zeichnungen sowie diversen Gegenständen, die dem Raum einen
Wohncharakter verleihen sollen, ausgesttatet. Eröffnung der Austellung: 28
September 1999. Weitere Termine stehen schon fest. Das Projekt bleibt die
nächsten 5 Jahre online.

"The BwO is that glacial reality

where the alluvions, sedimentations, coagulations, foldings, and
recoiling that compose the organism- and
also a signification and subject- occur" (159). It is the position in
"space", in structures, that allows
bodies, individualities, subjects, et al.. to flow--there has to be
something to flow through. Subjectivity is
 the facial mask--the entity that at once embodies signification and
materiality. "Dismantling the organism
has never meant killing yourself, but rather opening the body to
connections that presuppose an entire
assemblage, circuits, conjunctions, levels and thresholds, passages
and distributions of intensity, and
territories and deterritorializations measured with the craft of a
surveyor" (160). The BwO is "necessarily
a Place, necessarily a Plane, necessarily a Collectivity (assembling
elements, things, plants, animals, tools,
people, powers, fragments of all of these; for it is not "my" body
without organs, instead the "me" is on it,
or what remains of me, unalterable and changing form, crossing
thresholds" (161).

"Thus the BwO is never yours or mine. It is always a body. It is more

projective than it is regressive"

Gdeleuze/Fguattari 1000 plateaus 1987

"In considering the study of physical phenomena, not merely in its bearings
on the material wants of life, but in its general influence on the
intellectual advancement of mankind, we find its noblest and most important
result to be a knowledge of the chain of connection, by which all natural
forces are linked together, and made mutually dependent upon each other;
and it is the perception of these relations that exalts our views and
ennobles our enjoyments. Such a result can, however, only be reaped as the
fruit of observation and intellect, combined with the spirit of the age, in
which are reflected all the varied phases of thought."
"Cosmos A Sketch for the Physical Description of the Universe:"

As a potential resolution to his 'double dilemma,' Humboldt offers a "chain

of connection" approach which activates our "perception of these relations"
while embracing "all the varied phases of thought." Such an approach was in
no way facilitated by existent early 19th Century technologies. Digital
technologies, such as the Internet and the World Wide Web, hypertext and
database software, as well as electronic image capture, storage and
transmission systems alleviate Humboldt's 'double dilemma' intrinsically as
they equally extend his idea and practice of travel, scientific pursuit,
aesthetics and narrative writing onto completely new terrain, into entirely
new zones of activity

from echôra proposal

"The more travelers research into natural history, geography or political
economy, the more their journey loses that unity and simplicity of
composition typical of the earlier travelers. It is now virtually
impossible to link so many different fields of research in a narrative so
that what we may call the dramatic events give way to descriptive
passages."

Humboldt spent five years traveling on the New Continent between 1799 -
1804 to produce new narratives of nature . Subsequently, he spent 35 years
developing a new nature of narrative that might allow connectivity between
the varied aesthetic and scientific observations he had made on his travels
through equatorial South America. The result, Humboldt's "Personal
Narrative..." was as important for its search for an innovative meta-
content strategy, a new nature of narrative, as it was for its content, new
narratives of nature.

Hindering Humboldt's connective approach to narrative was 'the book'

itself. Set sequential and bound contents presuppose that all content
deemed to be outside the main narrative may only be interwoven by the
technologically constrained meta-content strategies of footnotes, indexes,
introductions, epilogues, appendices and a table of contents. Publishing a
work in several volumes as Humboldt did as well opened up the navigation of
content to a further meta-content strategy, that of browsing several bound
volumes on a desktop at once.

Humboldt's rhetorical strategy, developed over decades and enabled by his

own complex identity, allowed the weaving of aesthetic and empirical
discourse within one narrative flow. Admired as his special facility by
some readers and provoking criticism from others, at its best, this
technique substituted narrative fragmentation for connectivity, allowing a
more open reader to seamlessly cross the classical boundaries between
disciplines and participate with the author in the linking of certain
contents. Humboldt's intrinsic polyvocal narrative style in his "Personal
Narrative...", flipflopping throughout between the voices of a concerned or
objective scientist and those of an engaged aesthete or a romantic
explorer, became a sort of user-dependent meta-content game for the
production of personal meaning by means of constant, consensual and
collaborative connections to be made among otherwise individually discreet
narrative fragments.

The human body replaces 200 to 300 billion cells every day--a rate of about
200 million cells per minute! (Incidentally, an adult is comprised of
approximately 60 trillion cells.) Indeed, without having done a thing, "you
are not the same person you were yesterday!":-)

>From owner-equator@king.dom.de Tue Apr 1 16:31:53 1997

Date: Tue, 1 Apr 1997 16:22:47 +0200 (MET DST) X-Sender: 1514-
00@mail.ka.inka.de
Mime-Version: 1.0
To: equator@king.dom.deFrom: philip.pocock@inka.de (philip.pocock)
Subject: Re: mail to an =?UNKNOWN-8BIT?Q?=D8ther?= Land
X-MIME-Autoconverted: from quoted-printable to 8bit by king.dom.de id
QAA23865
Sender: owner-equator@dom.dePrecedence: bulk
X-MIME-Autoconverted: from 8bit to quoted-printable by king.dom.de id
QAA23867
X-env-mail-from: (owner-equator@king.dom.de) X-env-rcpt-to:
(postmaster@equator.inka.de)
>nobody wrote:
>>mail to Øther Lands, created by guest on Mon, 31.Mar 1997:
noticed the king.homepage misses>>OtherLands - 1 word and wherethefis the
nullsigninwindows...
>? what do you mean?misspells —therLands! That's all.
>that's right, because there are no descriptions on king at all.

(school) *No windows, no doors only deep folds on my hyperscreen* €

paragraphBoy

Lethe

"Forgetfulness". In Greek mythology, the Lethe is one Related

information of the rivers that flow through the realm of Hades.
Called the River of Oblivion, the shades of the dead. Pronunciation
had to drink from this river to forget about their {lee'-thee}
past lives on earth.

Flashbulb Memories
A detailed, vivid recollection of emotional event. It is as if a flashbulb
went off in the brain, leading to the storage of an exact picture of the
event. An impression may be so exciting emotionally as almost to leave a
scar upon the cerebral tissues
n William James, 1890

THE MUSEUM OF JURASSIC TECHNOLOGY

The Delani/Sonnabend Halls
Obliscence, Theories of Forgetting and the Problem of Matter
by Geoffrey Sonnabend
An Encapsulation by Valentine Worth

In his three volume work Obliscence, Theories of Forgetting and the Problem
of Matter, Geoffrey Sonnabend departed from all previous memory research
with the premise that memory is an illusion. Forgetting, he believed, not
remembering is the inevitable outcome of all experience. From this
perspective, "We, amnesiacs all, condemned to live in an eternally fleeting
present, have created the most elaborate of human constructions, memory, to
buffer ourselves against the intolerable knowledge of the irreversible
passage of time and the irretrieveability of its moments and events."

"distance is nothing more than knowledge, memory and analogy."

n paul virilio.

A "bit city", a "soft city" "This will be a city unrooted to any definite
spot on the surface of the earth." "asyncronous", disembodied", with
"fragmented subjects who exist as collections of aliases and agents".
according to william mitchell, we could be talking about memory, the city
as memory, approaching chris marker's appeal.

memory has become commodity in simsex, chatrooms, information, where

gigabytes of memory are the currency of exchange. memory is the currency of
the net commerce, its gross capital, reminiscent of assemly lines as the
memory production of industry.

"Freud's theory of "Screen Memory" 1889

and in hi "Psychopathology of Everyday Life 1888, one forgets through

repression and displacement., how memory is retrieved (memory traces, his
word) how psychic energy cathects unstable visual memory. essentially to
Freud, guilt is the culprit. it inhibits and camouflages". it inflects the
way the story is remembered., condensing its narrative, erasing its
details, masking its significance, displacing it onto another story
altogether.

Norman Klein The History of Forgetting Los Angeles and the Erasure of
Memory 1997.

Lebbeus Woods is responsible for the 'Free-Zone'. The extant urban

environment is "injected" with "freespaces", bizarre, anti-conventional
constructions that are "useless and meaningless". Lacking any function that
is identifiable in advance, freespaces are the degree zero of architecture,
establishing a "terra nova", a new ground of experience

Bernard Tschumi, the director of the Park de la Villette project, invited a

number of architects to design a series of sculptures. Eisenman
collaborated with Jacques Derrida and they produced Chôra L. The title is
taken from Plato's term for space in Timaeus. Plato discusses space as that
which comes between being and becoming. The metaphor Plato uses is a
winnower threshing corn; the woven grid or sieve being the chora which
receives and distributes the pure forms of being into the images of
becoming. Derrida focussed on the chora as the space or place of growth in
the formation of the world. "The Chora", in Derrida's words, "receives
everything or gives place to everything".
The Derrida/Eisenman collaboration brings a philosophical text, or a
reading of one, to bear upon architectural design. It uses architectural
space to perform this reading. Derrida's interpretation of the notion of
chôra places great emphasis on the generative aspect of space, even though
it is the middle figure of the triumvirate being, space and becoming.
Space, as the medium, is the the interactive location in which being and
becoming are fused, in which "the intelligible is made sensible" .

The idea of space as a generative force, an in-between being and becoming,

is central to Woods' freespace as a matrix of "relations... forged in the
time of the event". Contigency and indeterminacy are also central to
chôrography, a form of autographical writing. Described as "a rhetoric of
invention concerned with the history of 'place' in relation to memory",
chôrography interprets generative space as information gathered and
integrated within the inventive matrix of Gregory L. Ulmer. For Ulmer
chôrography deals with the space of what he calls (after Derrida) "the
remainder everything that abstract conceptual thinking dropped as being
irrelevant to logic". Specifically, it is the "peculiar particulars of a
given author's embodied location in space-time".
Ulmer is quick to emphasize that chôrography is not a genre that can be
taught. There are no styles of chôrographical writing, only idiosyncratic
samples, such as his Derrida at the Little Bighorn. Chôrography is a highly
powerful concept of writing as a creative space that creates complex and
unexpected relations from and within the matrix of the autographical
writing subject.
http://www.mcs.mq.edu.au/content/VirtualCultures/vc7-tofts-paper.html
CHÔRA: space or room in which a thing is - partly occupied space; country:
land(s), territory, country as opposed to town; place, spot (i.e. move from
place to place); field, first field; socket or cavity (of joint). euphemism
for female genitals.

CHÔROGRAPHOS; description of a country, or countries, plans, maps; the

astrological assignment of countries; mark out boundaries, design, lay out;
opposite to the more special term TOPOGRAPHOS (describing the single
places), as well as to the still more general term GEOGRAPHOS)]

Date: Fri, 14 May 1999 00:33:29 +0200.

Subject: all india.
listening to "radio all india" on shortwave 11620,0 khz heavy solar
activity in the ionosphere, the sound modulation is somewhat hyperreal ;).
seems we had a constructive meeting wed. at zkm. this list should now
address everyone involved so far & some others too. started to work on the
email/attachment parser, so far it's a pipe which eats MIME-mesgs and
writes multiparts to distinct files.

i've played around with an interface idea i had. there's an encapsulated

test version on http://humboldt.dom.de/work/target.php3.
> it's an map with sort of memory. i use it also on king-master. i put
> in one of roberto's drawings. it works with any image(map). remember,
> it's a sketch, test, in-between, visualized idea. it's cute because
> it clusters by intention user/author/ input, whatever. there's no
> depth for now, eg content layers. i like it because it's simple. if
> you like to relate to one text to another, simply click in the area
> around to add yours or _reply_. it then chooses a random 0-50 pixel
> range around the originator and _displays_. please feedback.

i like the way it relates the words to the map in a very simple way. it
loads very fast. is it possible to extend it so that you get for ex. to map
detail further and further, or so that you could link things across the
map?

it's text-driven. Computer screens are even more blinding that TV. the game
is: how to affect a screen change according to content & relation?

hmmm, sounds like this sexy camera thing the bladerunner used to zoom into
details on a ((((picture) in a room) in a house) on a photo) ;-). it's more
interesting to 'zoom in' by _content_ & _relation_ instead of finding plain
metaphors which everybody can see in a much better quality on TV?

Date: Tue, 01 Jun 1999 20:42:15 +0200.Subject: humboldt special.

looks like we are moving! don't know if any of you saw this, but there was
an all eve special on humboldt on arte on sunday night.

i am very interested in understanding more about the role of bonpland, his

somewhat tragic lover. he was humboldt's tag team partner and it was even
remarked by one of the experts, that he was actually the better scientist
of the two, but humboldt was the one who wrote the books and became famous.
bonpland, on the other hand, decided to go for another trip to paraguay by
himself where he was taken prisoner and held for 10 years. how about also
scanning in his version of the trip and "meshing" it with humboldts?

Date: Fri, 23 Jul 1999 11:30:40 +0200.Subject: avh_pasigraphie.

here is another instance of avh's desire for hypertext - his Pasigraphie.

from "Pasigraphische Ideen und Schillers Kritik". Humboldt's words:

"Weder das aufmerksamste Lesen meiner Arbeit, noch die Betrachtungen der
Figuren machen es moeglich, jene Fuelle von Thatsachen mit einem Blicke zu
umfassen. Es schien mir daher wichtig, eine Methode zu erfinden, welche
diesem Mangel abhuelfe. Die Bequemlichkeit, welche die Mathematik arbietet,
durch analytische Zeichen viele Saetze in wenigen Zeilen darzustellen,
reizte mich zu dem Versuche, die Abaenderungen des galvanischen Apparats,
bei dem fast alles auf der kettenfoermigen Aneinanderreihung der Stoffe
beruht, durch eine aehnliche Zeichensprache auszudruekken.

Vondiesen Gedanken ausgehend, entwickelte er die Idee einer 'Pasigraphie'

(=allgemeinverstaendliche Schriftzeichensprache) und verstand bald darunter
die exakte, uebersichtliche und leichtverstaendliche Darstellung
geognostischer und geographischer Erscheinungen durch Buchstaben,
Richtungspfeile, Symbole und abgekuerzte Bezeichnungen fuer Formationen und
Gesteine.

Als der erste Band von Humboldts 'Versuchen...' (1797) vorlag, stiess sich
Schiller an den vermittelnden Formeln und steigerte sich in einen ehrlichen
Aerger hinein, der leicht gelindert worden waere, wenn er eine Diskussion
mit Humboldt gesucht haette. Dabei waere zutage getreten, dass diese
pasigraphischen Darstellungsversuche durchaus den Zusammenhang des
lebendigen Organismus nicht verstuemmelten, sondern nur Vorlaeufer
groesserer Ideen waren. Goethe und Koerner verstanden Humboldt besser,
Schiller aber wandte sich energetisch gegen die Buchstabenformeln.

Schiller writes Koerner about Humboldt (1797): Ueber Alexander habe ich
kein rechtes Urtheil; ich fuerchte aber, trotz aller seiner Talente und
seiner ratlosen Thaetigkeit wird er in seiner Wissenschaft nie etwas
Grosses leisten. Eine zu kleine, unruhige Eitelkeit beseelt noch sein
ganzes Wirken. ... Es ist der nackte, schneidende Verstand, der die Natur,
die immer unfasslich und in allen ihren Punkten ehrwuerdig und
unergruendlich ist, schamlos ausgemessen haben will und mit einer
Frechheit, die ich nicht begreife, seine Formeln, die oft nur leere Worte
und immer nur enge Begriffe sind, zu ihrem Massstabe macht. Kurz, mir
scheint er fuer seinen Gegenstand ein viel zu grobes Organ und dabei ein
viel zu beschraenkter Verstandesmensch zu sein.

end of quote.

Date: Tue, 27 Jul 1999 23:10:16 +0200.Subject: ........

[1]philip: it's not the yanomami in the jungle, it's where the rivers meet,
and how they wind...
[1]philip: rivers are video: LL: 'time moving through space.'
[2]f01: actually boils down the aesthetics quite a bit.
[0]udo: While, like a rapid ghastly river,
[1]philip: it comes from trying to put in the xml markers for 1000 hours
here.
[2]f01: also connects nicely with data , chat etc.
[0]udo: Through the pale door.
[0]udo: A hideous throng rush out forever.
[1]philip: yes, Raudales, cataracts....
[0]udo: And laugh - but smile no more.
[1]philip: on the shores of never again....
[2]f01: keep going.
[1]philip: it's a river to me now, the whole thaaang.
[1]philip: we need some river dramaturgy, performance ideas?
[0]udo: and it's drawing a map of a river while u don't know where the
river goes, so future can influence the whole (past) thing.
[2]f01: thing of fabrizio with infusions stuck all over his body.
[1]philip: yes, a river is as i think heine said, the source, the place you
stand and the mouth of it at the sea at the same time.
[0]udo: i mean this orinoco picture...
[1]philip: it is like a scan line, time through space. time-based art, 5
years, 5000 rivers.
[2]f01: then we should have paddles.
[2]f01: instead of mice.
[1]philip: well, that point is near a village called Piedro Lais (Piedro =
rock) up the orinoco is Esmeralda...
[2]f01: you will be on a boat as i read the travel schedule.
map, a sextant, a compass....
[0]udo: when u posted this image, i imagined being there without a map, a
sextant, a compass....
[1]philip: and up from Esmeralda is MAP ROCK!!! Piedra Mapaya. that's the
route...
[0]udo: only rainforest and water .
[1]philip: AvH chipped off a piece of Map Rock, he writes.
[2]f01: and steamy fog, another flow.
[1]philip: then he turned north again.
**************************************************************
* *
* San Fernando... *
* ## *
* # *
* ### *
* #### Orinoco River *
* ####### *
* ####### *
* ######### Esmeralda *
* Piedra Lais # ## *
* # # *
* # ## *
* # # Upper *
* # # Orinoco *
* # ## *
* # # *
* # Rio Casiquiare # *
* # # *
* # # Map Rock *
* # # *
**************************************************************

----------------
-----------------
-------------------

Date: Mon, 28 Dec 1998 19:28:32 +0100

Subject: =?iso-8859-1?Q?e=2Dch=F4ra?=
while not forgetting the viral words we have been passing around for months
- mappings, nomographs, landscapes, floorplans of memory - imagine a ROUGH
INTERFACE. picture our screen displaying a portion of a HUGE map. it's
FLUID, changing, updating, words appear, we can move through it like a big
empty parking lot.
TOPOI: conceptual starting points (frontiers, stations, arguments, P.O.V.s,
narratives, recurrences, etc.) are injected by humbot authors into a
dataengine concocting each time a new fluid table of elements on the user's
screen.

Locating the h|u|m|b|o|t atlas - e-CHÔRA.

LOOKS like this.

+++++++++++++++++++++++++++++++++++++++ +
+ + GEOGRAPHY +
+ ++++ + + ++++++ ++++
+ + + ++++++ +
+ + ++++ + + + CHOROGRAPHY* +
+ + + + +
+ + ++++++++++ +++ + ++ +++++++++++++++++ ++ +
+ + ++TOPOGRAPHY_01++ +++++++ + +
+ +++++++++++++++++ +++T+++ + + + ++++++++++++ +++O+++ +
+ + +++++ +++++P+++ + +
+ +++++O+++ + + + +++ +++++G++++
+ + +++T++ ++++++R+++++ + +
++++O++ +++++++A++++ + + +++++P+++ ++++++++P+++
+ + + +++O+++ ++++++++H+++ + +
+ +++G++++ ++++++++O++ + + + +++R++++ +++++++S++
+ + ++ ++++A+++++ ++++++ ++ + +
+ + +++++P+++++ +++++0+++ + + + + +++++H++++ ++++2++ +
+ + + +++++O++++ +++++ + +
+ + ++++S++++ ++ + + + + +++ ++++ ++
+ + + ++0+++ + +
+ + ++3++ ++ + + + ++++ +++
+ + + ++ +
+ ++++ +++ + + +++++
+ + +
+++++++++++++++++++++++++++++++++++++++

[* FROM LIDDELL-SCOTT-JONES CLASSICAL GREEK LEXICON´:

<R13 - Cologne - h|u|m|b|o|t.release - 04.07.99> Im zeitalter des Zeitalter

Massentourismus, in dem jedes Ziel jederzeit erreichbar erscheint, gelingt
den Künstlern eine Neuverortung des Reisens. Formal und inhaltlich begeben
sich die Künstler auf eine Entdeckungsreise, indem sie mittels der
Kommunikationstechnologie des Internets eine Erzählstruktur entwerfen, die
kartographische orientiert wird.</R13>--------
<D03 - Berlin - flash for h|u|m|b|o|t - 25.07.99 17:04> ich würde nicht
direkt ¸ber die räumliche anordnung der orte reagieren, aber ¸ber die
_darstellung_ der orte. vermutlich ist das noch zu simpel, m¸ssen wir also
wirklich ein pasigrafisches system aufbauen, wo wir mehrdimensionale
informationen (gef¸hl, autor, ort) usw. in ein symbol stecken können. ich
mache mich gerade hinter die konkrete realisation eines fixen entwurfs, um
einerseits für mich zu sehen, was er taugt, und den andern mˆglichkeit für
feedback zu geben, was bei einer rein platonischen idee schwieriger
ist.</D03>

Memory Stats:

During a 60 year life a person stores 150 - 225 megabytes of information in

long term memory. for 6 billion persons that makes 1350 petabytes of human
spirit.

World Wide Web contains 2 terabytes of text, images, video, audio.

5000 films worldwide annually produce 185 terabytes.

52 million photos worldwide annually produce 520 petabytes.

TV worldwide produces 100 petabytes annually.

500 billion long distance calls in the us in 1994 produce 4 exabytes alone.

4606 petabytes (4,6 exabytes) per year of digitizable information produces

in the world.

all computers sold in 1998 can contain 12 exabytes.

[Note:]
1 exabyte = 1000 petabytes
1 petabyte = 1000 terabytes
1 terabyte = 1000 gigabytes
1 gigabyte= 1000 megabytes

(Source : FAZ, Germany)