WORDING
a list of some special critters you might come across wandering with unfolding spiral
![](https://d2w9rnfcy7mm78.cloudfront.net/26665024/original_5cde9e8f481abe835b8e27e3f8b84228.png?1709149300?bc=0)
breathing
OPPOSITE OF: breathless
LEARNING PATH: Franco “Bifo” Berardi⋰polinsski
we have grown unable to breathe at the
rhythm of our own respiration, which has
been captured by the apocalyptic force of the algorithm of financial capitalism.
Conscious breathing as resistance, breathing as revelation from the state of endless-chase, breathing as a search for inner rhythm, breathing as tuning.
Conscious breathing as resistance, breathing as revelation from the state of endless-chase, breathing as a search for inner rhythm, breathing as tuning.
computer feeling
what makes a computer a computer has nothing to do with commands, compilers, or even machines.
Computer is the specific feeling of artifacts that allow for intimate systems of personal
meaning, shifts the boundaries of what is captured by the word.
APPEARED IN: interview, hidden
LEARNING PATH: Agnes Cameron⋰Tim Hwang
and
Omar Rizwan
design
Why not design as a way of asking
questions?
APPEARED IN: interview, wording
LEARNING PATH: Isabel Seiffert⋰Beatriz Colomina & Mark Wigley⋰are.na community
design-quote
APPEARED IN: interview, wording
LEARNING PATH: Laura
Coombs, Laurel Schwulst, Mindy Seu⋰polinsski
Perceiving a text as situated within a certain environment (world, system, context), I wonder how we
can cite not only the words, but the feeling of the text, created through design practices such as:
color choice, fonts, line spacing, sounds, background image.... Through design-quoting, I propose
considering these practices as inseparable and not-less-valuable parts
of the text.
excessiveness
Excessiveness is the condition of
revelation, of emancipation from
established meaning and of the disclosure of an unseen horizon of signification: the possible.There is always a gap between intentions
and what is produced. The artifact offers something unexpected, some additional quality or
resistance. This excess opens up new ways of thinking, new modes of design.
APPEARED IN: intro
LEARNING PATH: Franco “Bifo” Berardi⋰Beatriz Colomina & Mark Wigley
Ideas
Ideas are
intersections between ourselves and something else, whether that’s a book, a conversation with a
friend, or the subtle suggestion of a tree. Ideas can literally arise out of clouds (if we are
looking at them). That is to say: ideas, like consciousness itself, are emergent properties, and
thinking might be more participation than it is production.kinship between boundaries and acceptance of
fluid and
contradictory identities
LEARNING PATH: Jenny Odell⋰Donna Haraway
ing
ing denoting the verbal noun
phrase shift the world from a being to a doing. The performativity of the noun that repeats itself
as a verb or gerund.
APPEARED IN: everywhere
LEARNING PATH: Helen Palmer and Vicky Hunter
Language organizes time, space, and matter in such a way that they become recognizable to human
consciousness. This process of semiotic emanation does not reveal a natural given; rather, it
unfolds as
a perpetual reshuffling of material contents, a continuous reframing of our environment.
[...]
Poetry is the excess
which breaks the limit and escapes measure.
Take that old,
material utensil, language, found all about you, blank with familiarity,
smeared with daily use, and make it into something that means more than it says…Words are being set
down in a force field. It’s as if the words themselves have magnetic charges; they veer together or
in polarity, they swerve against each other. Part of the force field, the charge, is the working
history of the words themselves, how someone has known them, used them, doubted and relied on them
in a life.
Whenever humanity
seems condemned to heaviness, I think I should fly like Perseus into a different
space. I don’t mean escaping into dreams or into the irrational. I mean that I have to change my
approach, look at the world from a different perspective, with a different logic and with fresh
methods
of cognition and verification. The images of lightness that I seek should not fade away like dreams
dissolved by the realities of present and future. [...]
Websites, which make up some of the internet, can also be lightweight. From a pragmatic standpoint,
light websites have a usefulness — they are quick to load, often accessible by default, and use less
energy and resources which can have an impact on the environment.
Marginality is today no longer limited to minority groups, but is rather massive and pervasive; this
cultural activity of
the non-producers of culture; an activity that is unsigned, unreadable, and unsymbolized, remains
the only one possible for all those who nevertheless buy and pay for the showy products through
which a productivist economy articulates itself. [...] A marginal group has now become a silent
majority.
we propose using
comments in source code not just for describing or crediting steps,
but as a margin that provides space for process documentation, conversation, and the otherwise
overlooked or deemed 'unimportant'.
Multidimensional citation
⋰ also acknowledges its imperfection. Listing a few names may not come close to recording the vastness of the network of people who helped surface an idea, but it’s a start. In other words, ⋰ is not necessarily a call to look up each person cited, but rather an acknowledgment that no one comes to an idea alone.
⋰ is a reminder that this learning trail is not static. It is living, actively being written, and capable of change: it could very well continue and be extended further.
⋰ is our attempt at acknowledging the multi-authored histories of ideas, our place within them, and our agency to extend them. Information networks have afforded new patterns of understanding. Anyone with an internet connection can access a vast amount of information and assimilate it themselves.
How can value be created in a world of so much abundance? Perhaps by thoughtfully considering and relaying our learning trails.
APPEARED IN: on writing,
wording
LEARNING PATH: Laura Coombs, Laurel
Schwulst, Mindy Seu
Relatedly,
⋰ can be thought of
as a prompt that asks, “Who is missing?” Through its form ⋰ also acknowledges its imperfection. Listing a few names may not come close to recording the vastness of the network of people who helped surface an idea, but it’s a start. In other words, ⋰ is not necessarily a call to look up each person cited, but rather an acknowledgment that no one comes to an idea alone.
⋰ is a reminder that this learning trail is not static. It is living, actively being written, and capable of change: it could very well continue and be extended further.
⋰ is our attempt at acknowledging the multi-authored histories of ideas, our place within them, and our agency to extend them. Information networks have afforded new patterns of understanding. Anyone with an internet connection can access a vast amount of information and assimilate it themselves.
How can value be created in a world of so much abundance? Perhaps by thoughtfully considering and relaying our learning trails.
Playscape is space for experimentation, discovery, and movement based on curiosity. It is a setting
where mistakes should be made, where mistakes are seen as what does not fit the standard, where
purposeful mistakes can be practiced as standard-hacking.
The playscape can also serve as a space to practice resisting power structures and rehearsing the worlds we want
to inhabit in everyday life.
poetic-web
Poetic web is a possibility playscape that allows for the reshuffling of semiotic patterns, similar
to how poetry operates. It consists of hypermedia and various practices associated with each medium
and artifact. Poetic Web reduces the constraints of standards, creating a space where new
connections and combinations can emerge. Poetic web can function as a space for both the
meaning-making and the excessive revelation of meaning, viewing these practices not as
dichotomies, but rather as part of a cycle of constant restructuring, forming, deforming and
re-forming, learning and unlearning; reflecting the fluid nature of things.
Poetry can be defined as the act of experimenting with the world by reshuffling semiotic patterns.
[...] The act of composing signs (visual, linguistic, musical, and so on) may disclose a space of meaning that is neither preexistent in nature nor based on a social convention. The poetical act is the emanation of a semiotic flow that sheds a light of nonconventional meaning on the existing world. The poetical act is a semiotic excess hinting beyond the limit of conventional meaning, and simultaneously it is a revelation of a possible sphere of experience not yet experienced (that is to say, the experienceable).We go to poetry because we believe it has something to do with us. We also go to poetry to receive the experience of the not me, enter a field of vision we could not otherwise apprehend.
[...] The act of composing signs (visual, linguistic, musical, and so on) may disclose a space of meaning that is neither preexistent in nature nor based on a social convention. The poetical act is the emanation of a semiotic flow that sheds a light of nonconventional meaning on the existing world. The poetical act is a semiotic excess hinting beyond the limit of conventional meaning, and simultaneously it is a revelation of a possible sphere of experience not yet experienced (that is to say, the experienceable).We go to poetry because we believe it has something to do with us. We also go to poetry to receive the experience of the not me, enter a field of vision we could not otherwise apprehend.
Repetition as a way of moving, repetition as rehearsing the worlds we want
to inhabit in everyday life.
Repetition as practice of self invention through relation, repetition as active listening,
repetition as observation of shifting nature of things.
Enclosed personal space: kellion, cella: foundation of idiorrhythmy.[...]
Secular version of the interiority of the room, as value: the quant-a-soi (= reserve, a
distant attitude). Room: a space for fantasizing in that it's protected; it's not subjected to
surveillance.
Fight for a room - the fight for freedom.A woman must
have money and a room of her own if she is to write fiction.
A site spirit is a more aware friend that provides careful observation and support through
the evolving process of writing and site creation, embodying various forms to suit the moment's
needs. It acts as a bridge between the internal world of discovery and the external expression.
Standards determine how objects
and content
are organized and circulated and thereby
make certain things possible and other things impossible.
Standardization might evoke a calming
image of normalcy against the backdrop of the bizarre everyday, yet it provides a rationale for
discrimination by defining a norm and demanding individual transparency.For
humankind to become the measure of all things, the human also had to go beyond itself, become
external to itself.
David Abram
proposes that it is not we who are thinking, but rather the environment that is thinking through
us.It matters what matters we use to
think
other matters with; it matters what stories we tell to tell other stories with; it matters what
knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties
tie ties.
user caught in endless chase
The user is only a spectator to a flow that
goes faster and faster, so he is
always feeling late, caught in an endless chase after the elusive flurry of information. Broadband
and the high-speed Web put us in a persistent condition of being out of sync.
The spectator is
simply supposed to know nothing and deserves nothing. Those who are watching to see what happens
next will never act and such must be the spectator’s condition.
APPEARED IN: on writing
, transition space
LEARNING PATH: Franco “Bifo” Berardi⋰Adrienne Rich⋰Guy Debord
Similar to our relationship with text as
collection of techniques and habits made it possible to imagine the “text” as something
detached from the physical reality of a page.
I wonder what practices are connected to web artefacts(such as buttons, headers, links, url,
etc...).
Artifacts become truly transformative
by exceeding what was expected
of them, exceeding our grasp. lt is precisely in challenging us * triggering the potential
of new ways of seeing, thinking, grasping, and acting - that design plays its role in
redefining the human.
Worlding is a particular
blending of the material and the semiotic that removes the boundaries between subject and
environment, or perhaps between persona and topos; the world's worlding, is the setting up of the
world.