flow/

it turns out that shrimps did it first!

the odds are, this is a synthetic, or virtual, or modelled universe. all terms are interchangeable.

as the ancients say: maia.

http://www.frc.ri.cmu.edu/~hpm/project.archive/1981.wave/paper/siggra.mss

its clear that many of the properties of ‘reality’ (read, virtual world) are co-incident with the computational shortcuts required in modelling ‘reality’. funny that.

so. what can we do to communicate with our modellers? ever feel like a sim?

in my search for an rgb to spectral conversion algorithm, i cam across the folowing page:

http://www.fourmilab.ch/rpkp/

it made me realise i need to put my theories, based on experience, about the nature of magic down onto the web.

looking at requirements for a good magical action:

1) the situation needs to be loosely defined. this allows room for effects to occur without causing change, as we don’t ALLOW things to change

2) you need to believe you can do it!

now. i postulate that we are all magical beings, that the universe is magical and that we are all involved with magically creating it.

this leads to the observations that:

science is a magical act. carried out by millions of scientist/mages, all operating in unison, until there is conflict. there, the most subtle practitioners can warp reality to fit. i call on the observation that “past” scientific experiments are continually disproved as my evidence. i mean, how wrong can you go with a pendulum, yet modern scientists still think they can measure g better than those in the 1950’s. the clear hubris here prevents modern SMs seeing the change in the fabric of reality.

as an aside, i picked up a french SM hitchhiking one day, and was gratified to hear he had just published a paper documenting the 18 physical ‘constants’ that are changing.

so. given that we are all magical, what stops us all doing magic? well, apart from the fact that everything is a continuous magical expression, we have a built in inertia, a resistance to change, that prevents us form acting outside of our perceptions of normality. that’s half the yogic and sufic battle, to change those beliefs.

a trick i use is to not look too closely, then there is always room.

which brings us to another issue - NOT TALKING ABOUT IT - since we are all accomplished magicians, as soon as you start telling people about what tricks you’ve been up to, they’ll start fixing it, to conform to their normality. fortunately, we all believe in the power of media science, so you can put something out there and let others pick it up, and soon you’ve half the planet on your side.

i might add, that i’m sure all readers of this, (ie you) despite any misgivings or outright conflict, deep down are acknowledging the truth of this (in the 1 plus 1 equal 2 kind of truth), so i’m not destroying my own argument isn’t that right?

so. retro chronal?

it the secret. what better way to change something than to make it so its ALWAYS been, therefore, no change. and therefore, the need to not look too closely.

fortunately, few people recognise the carrot-like hyperdimensionality of them selves, and so are prone to letting their memories change without notice. they are being blown about like fluff in the wind.

it is possible to become more rooted. if you want to test this out, go meditate for a few years til you’ve watched your self expand out over time, then wait, and see modern facts change in contrast to your (now fixed) memories. i would suggest that transcendant meditation should be coupled with ego retention, not loss. its part of you, why lose it? oh yes, its BAAAAADDDDDD. (doh)

its also a common error to assume that our memories are faulty, and so take on board the belief that we are fallable, and hence destroy our own potence. in fact, the world is rapidly and constantly in flux, in response to both the conscious and the unconscious desires of its inhabitants.

so. there you go. things can change, you can make it so, and it happens in such a way so that it always was. like opening hte fridge 3 times to find some yummy food, or believing that something will return, so that it can.

there was a recent article in new scientist that says this: “control: why you should let go” or something like that. basically, it was saying that self organising systems work things out much better than we can if we push it. and so with magic. you put it out there, you trust your little systems to effect the changes, then you observe how they did it.

now, i’ve been well trained. school, university, parents. i have well entrenched belief systems. so i’m playing in the gaps, to reprogram my self and get what i want. i accept that what i want was also given to me by a mixture of genetics and upbringing. we can relate this all back to the instant of creation (and so, the creator) and be confident that we are all operating under divine will. that makes it sit lots easier than the traditional path of “black” magic that goes in opposition to all that there is.

i hope that you find this information.

Flow (us, 5 lifetimes ago?)

transcript of article in “the west coast messenger” wed 26th march 08 by Jo Keppel

Enter the Left Bank Art Gallery Vault (dodgy link?) and close the heavy door behind you to find yourself in an exhibition of works that twinkle and dance in the darkness.

The 16 paintings, by Flow Ir In, somewhat reminiscent of those “magic eye” pictures which used to have us touching our noses to the page and then drawing back cross-eyed to see the “real image” gain extra impact by their large size. One, on unstretched canvas covers a whole wall of the Vault.

The mysteries of that aside, the exhibition has the appeal of being familiar in the way of post-war American abstract expressionists, with the contemporary addition of some special lighting and sound effects - adding up to a whole new original experience.

Flow was born in the United Kingdom, in Kent.

“From as far back as i can remember, I’ve always known I’d come to New Zealand. It’s been calling me. When i first put my foot on Aotearoan soil, five years ago, I had this huge feeling of coming home,” she said.

“My dad taught me how to draw when i was tiny, and i excelled at school. I had a bit of a flair for photorealistic still life. At 16, i had to make a choice between art and science, and i chose science, as I could always draw, but needed a university education to learn the esoteric mysteries of modern science.”

That study is now the basis of Flow’s new and original art.

“I would call what i do a chaotic boundary condition which interfaces with the viewer’s neural network to allow direct communication between the hyperspatial entity which i represent, and the viewer. That’s not very catchy, though, so i just call it chaos art for short. Although it looks nothing like the mathematical fractals which are commonly called chaos art as well, it is created using similar principles.

“I spent a lot of time attempting to visualise simplexes - four dimensional tetrahedrons. The day i succeded, which took about three years of intensive meditation, i stepped outside this world, and entered a place that is … ‘other’. Ever since, i’ve been trying to create a communication bridge, so that i can show other people what i learned. This art is my latest, and most sucessful attempt.”

She wanted to make something that would have universal appeal, so that all sorts of people would be able to enjoy it without having to know anything about her intentions.

“To that effect, the major moment to moment guiding principle is one of beauty. I’m in constant conversation with myself about what colour, which brush, which hand … and i keep increasing the complexity of the surface until a little voice tells me to rest, or do something else.”

each painting goes through a numebr of stages. “First, i paint a pretty normal picture, to give a theme to the painting, be it a portrait, a landscape, or a representation of a spiritual or religious concept. You can see what the theme was by the painting’s title. I then apply a number of totally random layers, until i feel i am in a neutral place. From then on, I am working to bring beauty back, using progressively more detailed layers, until the original picture is totally obscured, and a complex surface looks back at me. This can take a long time - especially if i am fighting against some pre-conception of correctness. I have a lot of faith ‘in the process’”.

Flow describes the music accompanying the pictures as “a bit of mix”.

“It is on random play, and i trust my computer to pick songs suitable to the people around. Some are regular songs, with themes that match in some way the theme of the paintings. Others are tracks I have made myself, which are in 5.1 surround. Those are literally part of the paintings. I take photographs, then run them through some software which i wrote which performs a “k-space” transformation. That takes each colour channel and flips it from a spatial map into phase-frequency space, which basically makes sound. I then either keeps this raw, or re-sample and re-sequence them into more musical creations. I have also built chaotic oscillators, which make a wobbly, ever changing sound, and turned that into music. That is currently touring the world as part of Soundlab IV’s Memoryscape exhibition.

“The tiles in the Vault exhibition are a bit of a proof of concept - they fit together any way, despite having a totally random pattern. Very odd.”

Flow’s exhibition runs at the Greymouth gallery until April 3.

by Jo Keppel

picture link

tiles tesselating

Last updated 9:31 AM 17/01

Military

6:59 PM 15 Jan : Failed Invasion

Greatempire`s Rich.VF

Ship Lost Left
t.Nirvana Dreadnought 5 17
p.Thor Destroyer 32 202
f.Spear Cruiser 6 243
Strafez Queen Organic 18 330
t.Empereur Battleship 5 42
t.Hercules Juggernaught 0 6

sulfire`s Capital.TH

Ship Lost Left
d.Pike Destroyer 3 152
f.Spear Cruiser 24 287
c.Taurus Destroyer 2 163
c.Aries Corvette 613 2,377
t.Empereur Battleship 7 16
c.Gemini Frigate 27 396
r.Schooner Destroyer 0 48

d.Pike arrives from Quartermain
c.Taurus arrives from KRULL
r.Schooner arrives from Spacewarrior

6:40 PM 15 Jan : Successful Invasion

SongDynasty`s Capital.HC

Ship Lost Left
t.Empereur Battleship 7 90
t.Hercules Juggernaught 0 10
t.Nirvana Dreadnought 1 14
p.Thor Destroyer 6 126
c.Cancer Cruiser 4 100

sulfire`s Capital.TH

Ship Lost Left
f.Spear Cruiser 44 311
c.Taurus Destroyer 8 189
d.Pike Destroyer 2 29
c.Aries Corvette 224 2,990
t.Empereur Battleship 1 23
c.Gemini Frigate 0 423
r.Schooner Destroyer 0 48

c.Taurus arrives from KRULL
d.Pike arrives from Quartermain
r.Schooner arrives from Spacewarrior
Lost 1,212 planet(s)

5:17 PM 15 Jan : Successful Invasion

DarthTabar`s Capital.6O

Ship Lost Left
t.Empereur Battleship 9 197
p.Thor Destroyer 16 307
t.Ryu-jin Fighter 2,029 61,823
t.Nirvana Dreadnought 1 25
f.Spear Cruiser 20 245
t.Kalieum Cruiser 2 45

sulfire`s Capital.TH

Ship Lost Left
f.Spear Cruiser 95 355
c.Taurus Destroyer 21 251
d.Pike Destroyer 4 39
r.Schooner Destroyer 17 114
t.Empereur Battleship 4 24
c.Aries Corvette 12 3,214
c.Gemini Frigate 0 423

c.Taurus arrives from KRULL
d.Pike arrives from Quartermain
r.Schooner arrives from Spacewarrior
Lost 1,052 planet(s)

12:32 PM 15 Jan : Successful Invasion

titanae`s Capital.2W

Ship Lost Left
f.Spear Cruiser 29 1,459
p.Thor Destroyer 87 1,287
Strafez Queen Organic 1,033 967
Large Strafez Runner Organic 537 1,163

sulfire`s Capital.TH

Ship Lost Left
c.Cancer Cruiser 18 471
r.Schooner Destroyer 154 246
Small Strafez Runner Organic 7,000 0
t.Empereur Battleship 108 28
G.Livid (r) Fighter 15 35
f.Spear Cruiser 50 450
d.Pike Destroyer 0 77
c.Aries Corvette 0 3,226
c.Gemini Frigate 0 423

c.Cancer arrives from madmax
r.Schooner arrives from Spacewarrior
G.Livid (r) arrives from madmax
d.Pike arrives from Quartermain
Lost 1,096 planet(s)

11:18 AM 15 Jan : Successful Invasion

sulfire`s Capital.TH

Ship Lost Left
t.Empereur Battleship 4 136
Small Strafez Runner Organic 0 7,000
f.Spear Cruiser 0 500
c.Aries Corvette 0 3,226
c.Gemini Frigate 0 423

wardovia`s Capital.9K

Ship Lost Left
t.Chimaera Starbase 12 8

Won 1,500 planet(s)

11:15 AM 15 Jan : Successful Invasion

sulfire`s Capital.TH

Ship Lost Left
t.Empereur Battleship 0 140
Small Strafez Runner Organic 0 7,000
f.Spear Cruiser 0 500
c.Aries Corvette 0 3,226
c.Gemini Frigate 0 423

triune99`s Eden.8N

Ship Lost Left
t.Chimaera Starbase 1 0

Won 1,500 planet(s)

11:13 AM 15 Jan : Successful Invasion

sulfire`s Capital.TH
++ attacks ++
Chain57`s Dark.WA
++ No defending fleet ++

Won 750 planet(s)

11:12 AM 15 Jan : Successful Invasion

sulfire`s Capital.TH
++ attacks ++
Narciso`s Orion.N8
++ No defending fleet ++

Won 847 planet(s)

11:10 AM 15 Jan : Successful Suicide

sulfire`s Capital.TH
++ attacks ++
TossanEmpire`s Sol.T9
++ No defending fleet ++

Destroyed 2,109 planet(s)

11:10 AM 15 Jan : Successful Suicide

sulfire`s Capital.TH
++ attacks ++
JunoServant`s Rich.YH
++ No defending fleet ++

Destroyed 1,250 planet(s)

11:09 AM 15 Jan : Successful Suicide

sulfire`s Capital.TH
++ attacks ++
CivitasDei`s Dark.9J
++ No defending fleet ++

Destroyed 1,250 planet(s)

11:09 AM 15 Jan : Successful Suicide

sulfire`s Capital.TH
++ attacks ++
nonchalantstud`s Rich.4I
++ No defending fleet ++

Destroyed 2,352 planet(s)

programmin takes a lot ov concentration.

coffee

time

and now? it takes 40000 bytes to describe how to do such a simple thing, and that’s not includin the libraris.

can someone rewrite the languages, pleez.

result: “lernin the gramma of the cpu”, part of the church of chaos dvd - available on request

updates. back into the world of humans. its weird to be here … talking to the sea and the ‘net made a lot more sense. ah well. its still fun to have the ability to fix machines by touching them, or by telling off the owners! all seems good at the moment, so i’m not worrying about it. its more time too…

work progresses on physical artforms. i had so much to say before sitting down on here!

this is a game i play.
Play Unification Wars (Online Games) , Unification Wars is a Free MMORPG or Free MMOG . Galactic Conquest is
a Free Online Web Games with Unification War a Online Strategy Games

but click on this link, to get me good things!
http://uc.gamestotal.com/?in=1374265

well. well. well.

i’ve been ofline for such a long time.

this is for you fellows at the fbi.

to Major Hilfe

if you are not the addresse, please place this file on hold until such a time as the department of strategic retro chronal terrestrial defense exists, then readjust the focus on agent Maja.

The tuning pattern for the cloak on incident 4 through 11 is coded on the album ‘church of chaos’

thanks

MESSAGE DISPLAY Message number 35

35 saved-messages sent-mail neomail-trash .cppop.cache .cppop.cache.msgs .mailboxlist Drafts Sent Items films inbox shipping

Date: 11/10/2006 09:57:00 +0100
From: “{soundlab4 }”
Reply-to: “{soundlab4 }”
To:
Subject: [R][R][F]200x—>XP - a digital challenge All headers
Agricola de Cologne
is featuring
[R][R][F]200x—>XP, VideoChannel, SoundLAB & Cologne OFF
on
2nd Digital Art Festival in Rosario/Argentina
http://www.rattlesnakeproductora.com - 16-18 October 2006.
It is that occasion in 2006
for which Agricola de Cologne, media artist and New Media curator from Cologne/Germany
prepared a special digital project combination—>

The lecture entitled
“The Network”, memory and identity
a challenge in digital art -
is spotlighting Agricola de Cologne’s activities in digital art since 2000
and the development of [NewMediaArtProjectNetwork]:||cologne - “The NETWORK”

and

the global networking project [R][R][F]200x—>XP
[Remembering, Repressing, Forgetting] - http://rrf200x.newmediafest.org -
the most prominent project environment, Agricola de Cologne realized until now.
The festival in Rosario represents the countdown of the finalization of this global project
which was running very successfully during the past three years.

A new, updated and final project version will go online on coming Tuesday, 14 October 2006,
just in time before the festival is starting.

[R][R][F]200x—>XP is an ongoing, long term experiment starting in March 2004 simultaneously in Internet and at National

Museum of Contemporary Art Bucharest/Romania, Bergen Electronic Arts Centre Bergen/Norway and New Media Art Festival Bangkok.

Many networking instances as artists, curators, institutions, organisations from all parts on the globe joint the project and

form an unique collection of collected memory of mankind manifested in advanced technological forms of contemporary art, i.e.

net based art, an Internet specific form of digital art. The project is a hybrid form of a research, New Media event and an

art project.
It is based on three basic components, the subject: “Memory and Identity” , the operating aspect: ”networking as artworking”,

and the presentation aspect: installation in an exchange/combination between virtual and physical space.
The project consist of a low-tech blog, which contains also textual information and the latest news, the high-tech Flash body

contains the actual art project.
The project is structured like a human brain, consisting of countless synapses which all are connected to each other. In the

case of this project there are 8 main synapses, called “memory channels”, which may consist again of several moduls in form

of individual artists projects.
Curators from many countries were invited to prepare contributions in the categories “netart” for RRF Channel, “videoart” for

VideoChannel and “soundart” for SoundLAB Channel. More than 50 curators and about 800 artists form this way the basis of a

new and gigantic artwork online and offline.

On occasion of the festival in Rosario, the finalization of this global networking project will be initiated, which is

planned to be completed until the end of 2006. Once completed, the project will remain for permanent online and beyond that

active in different ways.

RRF Channel will be extended by v3 of RRF, a selection of netart pieces on the theme “memory and identity”
featuring new works by these artists: - http://rrf200x.newmediafest.org/blog/?page_id=4
Lisa Cianci (Australia), Mark Cypher (Australia), Dario Quaranta (Italy), Moar Joanne (New Zealand), Rainer Prohaska (Austria

), Jt Wine (USA), Carlos Katastrofsky (Austria), Mark Sedgewick (USA), Humberto Ramirez (USA), Roberto Echen (Argentina),

Päivi Hintsanen (Finland), Andreja Andric (Italy/Serbia), Societe Realists (France), Filh (France), Calin Man (Romania),

Bjoern Karneborgen (Germany), Alexa Write (UK), Robert Spahr (USA, Khaled Sabsabi (Lebanon/Australia), Jason Sweeney

(Australia), Sonya Nielson (USA), Ricardo Miranda Zuniga (USA), James Robert Ford (UK), Deb King (USA), Osvaldo Cibils

(Uruguay), Panios Kouros (Greece), Tobias Sternberg (USA). Fabian Taranto (Italy)

SoundLAB Channel - http://soundlab.newmediafest.org (also operating independently) will be extended by Edition IV -

“memoryscapes” which is featuring not only a contribution of soundart from Chile curated by Rainer Krause (Santiago/Chile)–

->Luis Barrie, Claudio Fernandez Sini, Foro de Escritores (FDE), Ensamble Majamama, Radio Ruido, Mario Soro, Andres Torres,

Pintor Z -
but also more than 135 artists and 200 pieces of soundart curated by Melody Parker-Carter. All details and the lists of the

selected artists can be found here: http://soundlab.newmediafest.org/blog/?page_id=20

VideoChannel (also operating independently) http://videochannel.newmediafest.org
is extended by the new selection on the theme “image vs music”, featuring 50 video artists, more details on
http://videochannel.newmediafest.org/blog/?page_id=38

Since 2005, especially VideoChannel became very active in presenting selections from the more than 200 videos of this unique

film and video selection on numerous festivals.. In 2006, VideoChannel initiated Cologne OFF - Cologne Online Film Festival -

http://coff.newmediafest.org - directed by Agricola de Cologne,
a mobile film and video festival, operating simultaneously online and offline via screenings.

2nd Digital Art Festival Rosario will be screening two selections from Cologne OFF:
Cologne OFF I - “genderscapes” - a selection dealing with gender issues and sexual idenfication, featuring these artists:
1. Rahel Maher (Australia), 2. Unnur A. Einarsdottir (Iceland), 3. Ane Lan (Norway), 4. Alla Girik and Oksana Shatalova

(Kazakhstan), 5. Sinasi Günes (Turkey), 6. Beatrice Allegranti (UK), 7. J.G. Periot (France), 8. Ina Loitzl (Austria)
9. Lorenzo Nencini (Italy), 10. Elia Alba (Domincan Rep.), 11. Risk Hazekamp (the Netherlands), 12. Agricola de Cologne

(Germany)

and Cologne OFF II - “image vs music”,
a selection dealing with a compettion between the moving image and sound/music”, featuring:
*Andreja Andric (Italy), *Bundaberg Media Research Group (Australia), *Daniel Blinkhorn (Australia), *David Burns (USA)
*Dennis H. Miller (USA), *Gabriel Shalom (USA), *Jason Paul Cardot (USA), *Lane Last (USA)
*Laurent Pernot (France), *Erika Frenkel (Brazil), *Mauro Arrighi & Marco Buziol (Italy)- *Pygar - Hugo Olim/Joao Ricardo

(Portugal), *Shawn Towne (USA), *Sinasi Günes (Turkey), *Sonja VUK (Croatia), *Unnur Einarsdottir (Iceland), *Agricola de

Cologne (Germany)

More information about Agricola de Cologne’s artistic and curatorial activities
can be found on his homepage - http://www.agricola-de-cologne.de

All projects of Agricola de Cologne’s festival participation and presentation
were realized in the framework of
[NewMediaArtProjectNetwork]:||cologne - www.nmartproject.net
the experimental platform for art and New Media founded and directed by Agricola de Cologne.

The featured projects and screenings are presented on the festival by
Media/Art/Cologne - http://www.mediaartcologne.org
the global window to media art from Cologne directed by Agricola de Cologne.

Links:
[R][R][F]200x—>XP - http://rrf200x.newmediafest.org
VideoChannel - http://videochannel.newmediafest.org
SoundLAB - http://soundlab.newmediafest.org
Cologne OFF - http://coff.newmediafest.org
Media/ArtCologne - http://www.mediaartcologne.org
Agricola de Cologne - http://www.agricola-de-cologne.de
The Network - http://www.nmartproject.net

NeoMail version 1.27