(8) Humberto Maturana in "the tree of knowledege" defines language as a coordination of coordinations

(9) Ettienne Jules Marey (1878) in Cahiers M

(10) see the work of redactiva (2002) in spaces not used actively by citizens. www.redactiva.tk

(11)La cite eut sa pratique spatiale; elle a faconne son espace propre, c'est a dire approprie. D'ou l'exigence d'une etude de cet espace qui le saisisse comme tel, dans sa genese et sa forme, avec son temps ou ses temps specifiques (les rythmes de la vie quotidienne), avec ses centres et son polycentrisme (l'agora, le temple, le stade) H. Lefebvre.La production de l'espace 1974

(12) globalisation from the local. Lecture given by Arjun Appadurai at the Balie, Amsterdam, december 2003

(13) It has now become something of a truism that we are functioning in a world fundamentally characterized by objects in motion . These objects include ideas and ideologies , people and goods , images and messages , technologies and technics. This is a world of flows (Appadurai, 1996). (...) But to say that globalization its about of things in motion somewhat understates the point - are not coeval, convergent, isomorphic, or spatially consistent.They are in what i have elsewhere called relations of disjuncture(...) the paths or vectors taken by this kinds of things have different speeds , axes, points of origin and termination, and aried relationships to institutional structures in different regions, nations or societies. Further, these disjunctures themselves precipitate varoius kinds of problems and frictions in different local situations. Indeed, it is the disjunctures between the various vectors characterizing this world in motion that produce fundamental problems of livelihood, equity, suffering, justice, and governance. (Grassroots GLobalization and the research Imagination (Arjun Appadurai, 2001,p 5)

(14) Velvet trousers- / their whistling sound (in walking) by/ brushing of the 2 legs is an / infra thin separation signaled /by sound. (it is not? An infra thin sound)

Marcel Duchamp, Notes, presentation and translation by Paul Matisse (Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1980)

Infrathin, Duchamp's terminology to define the distance between the mold and the real.
When asked for a conceptual definition of the term "infrathin," Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:"
--the warmth of a seat (which has just/been left) is infrathin1
--when the tobacco smoke smells also of the/mouth which exhales it, the two odors/marry by infrathin
--2 forms cast in/the same mold differ from each other by an infrathin separative amount.

Although Duchamp stated that the infrathin was undefineable, Obalk attempted to define it in a paper given at the College Art Association, in Boston, in February of 1996. Obalk makes three distinctions of the notion of infrathin. In the first notion of infrathin, the term describes an "infinitessimal" thickness--the thickness of an atom for example. The second notion of infrathin characterizes any difference that you can easily imagine but doesn't exist, like the thickness of a shadow.19 The third and final notion of infrathin qualifies a distance or a difference you cannot perceive, but you can only imagine.20 This last concept of the infrathin is the most important because it exists completely in the viewer's mind.
The infrathin separation is working at its maximum when it distinguishes the same from the same, when it is an indifferent difference.21 There is no difference between the bottle rack selected by Duchamp and every other bottle rack. Then again, there is a difference if Duchamp selects one bottle rack, and the viewer subsequently considers that bottle rack as a work of art. The infrathin artwork is not the bottle rack itself, but the viewer's contemplation of the bottle rack as art.

http://www.csuchico.edu/art/contrapposto/Contrapposto97/Pages/Jay.html

The notion of infrathin is one of focus, focus viewing spatial positions, a definitive nexus with later architectural concepts the qualities of the space to maximum involvement: a crystallized skin that simultaneously resolves the interior space and the exterior symmetries of the building. The projection of different, meaningful layers on one level means that the Large Glass presents a critically suspended perspective.
In Duchamp’s revisions for the Tokyo exhibition of 1980 new unedited notes and manuscripts appeared, in which the word inframince appeared, a word that doesn’t exist in French making one of the many plays on words in conceptual art. It is composed of the word infra (low) and mince (thin). The absolute connection between language and plastic expression throws light on this point, finding, amongst other quotes “…painting on glass, seen from this side without painting, creates the infrathin. The Interchange between what is put in view and the glacial observation of the public (that sees and immediately forgets). At least this exchange holds the value of an infrathin separation.”

From: The Suggestion of a Boundary:
the Non-constructed Architecture of Glass
A view of the artistic avant-garde, from the 21 st Century
by Daniel Huertas Nadal
http://www.toutfait.com/issues/volume2/issue_5/notes/nadal/nadal.html

(15) The homeostat
The incorporation of the difference between the actual response and the required response is known as feedback self-regulation.
Ashby built an electro-mechanical system called the Homeostat and demonstrated an operating procedure which he called ultrastability.
Ashby built an electro-mechanical system employing a set of four
pivoted magnets and an arrangement of electrical connections and
impedences. The effects of the position of each magnet were routed to
the other three magnets via a number of parameter altering devices.
Selection switches and motion constraints. With any change in the
operating conditions the positions of the magnets would automatically
shift until the original specified condition of stability was
re-established. This machine was the Homeostat and demonstrated an
operating procedure which he called ultrastability. Ashby's Homeostat

(from Ashby, W.R: Design for a Brain, 1952)
since I've been using my max mixer patch I see the homeostat...

(17)All differences in acoustic perception can be traced to the differences in the temporal structure of sound waves...If all of the experiential properties of sound could be traced to a single principle of ordering -such as temporally composed successions of pulses -compositional thought would have to be radically reoriented...One would not proceed from sound properties that had already been experienced and then allow these to determine temporal variations;instead one would compose the temporal arrangements of pulses themselves, and discover their resultant properties experimentally (K. Stockhausen 1963) in Roads (2002)

(18) (Dits et écrits IV, p. 256)

(19) While rhythm is a purely temporal aspect of music, cadence has

(20) The smallest translation refers to a "microphase" shift that correspond to the distance at which the oscillation movements of tones follow one another at about 1/16th to 1/10000th-second intervals mesophase shifts with 1/16th to 2 second intervals. This are followed by macrophase shifts with intervals of 2 seconds and more. Finally, there are shift whose repetitions is only executed after the entire primary composition has sounded. This fourth shift category is a kind of iteration , which is in fact the most consistent and most frequently used kind of repetition. Then there is also the non translation category where the repetition is executed at the very moment when sound object to be repeated is sounded. We are dealing with a conjunction that leads to a kind of acoustic eclipse. The phase shift then amounts to zero seconds. cahiers m p. 90

(21) http://media.hyperreal.org/zines/est/articles/reich.html

(21.5) However, the third strike occurs only half a beat later and the remaining beats describe an interlocked hexagon, until the low-pitched bell marks the beginning of a new cycle. Therefore , by the application of Gestalt principles, the perceptual vectors of future expectancy and past reinforcement described by Desain and Jones may be seen to form a closed pattern of two interlocking hexagons. As this rhythm is performed, we are always expecting one hexagon and remembering its complement.(McLachlan, 2000 p.62)

(22) (Lefebvre, Production of Space in architecture, theory since 1968

(23) Robert Venturi: Complexity and Contradiction in Architecture in Architecture Theory since 1968

(24) p.42 Cahiers m (diagonal sound)

(26) Cahier M

(29)
-------------------------------------- pal•in•drome
Pronunciation: (pal'in-drOm"), 1. a word,
line, verse, number, sentence, etc., reading the same backward as
forward, as Madam, I'm Adam or Poor Dan is in a droop. 2. Biochem.a
region of DNA in which the sequence of nucleotides is identical with an
inverted sequence in the complementary strand: GAATTC is a palindrome
of CTTAAG. ----------------------------It has to be said that in ancient greece Palindrome has a subversive connotation. Secret messages would be contained in the inverted phrase. It had a high political and subversive connotation.

(30)
1.Different experiments should be made
Setting a counter of movements inside a kitchen for example. Videotracking of repetition of daily practices, from there i get the numbers that could be converted into sound for example. but specially for the visualizations , the sheets of contours
2.The use of Todd Matsumoto's drawing machine applied to track and map mailing lists and other conversational playgrounds.

(33) il a sa loi en lui, sa regularite; cette loi lui vient de l'espace, le sien, et d'un rapport entre l'espace et le temps. [ Poutant, la pratique sociale se compose de rythmes, quotidiens, mensuels,annuels,etc. Que ces rythmes se complexifient par rapport aux rythmes naturels, c'est hautement probable. Une grande perturbacion vien de la dominance pratico-sociale des repetitions lineares sur les cycliques, donc d'un aspect des rythmes sur l'autre ( La production de l'espace, Henri Lefevbre, 1974)

(34) categorias de rytmoanalisis

(35) In this way we are addressing a phenomenology of knowledge: a ray of conscience spread over reality (la linterna magica) (Husserl)

(36) Bergson "The Creative Mind" (Concerning the nature of time) in Key writings (2002)

(37) Brian Holmes Conversation7
"It would be interesting to bring in the notion of the embrayeur, the
gearshift and the clutch (palanca de cambios y embrague - o "cloche" en
Latin America) : the way you engage with a discourse that goes beyond
you, a language-machine... Where they say I, where they say we, where
I, we, becomes he, she, it, they... the linkages between the machines..
and the unlinkages! Guattari must have been fascinated by this..."

(38) Vertical depth structure is linked to the structure of the repetition
plan in the repeaters mind. This plan not only comprises the number of
times a repetition is to be carried out but also the extent to which
the individual layers will be shifted- translated during each
repetition (p.81) (rep).

(39) Movements: Schlemmer: Si ces elements sont determinants, alors l'homme
est le centre, l'homme dont le mouvement et le centre, l'homme dont le
mouvement et le rayonnement creent un espace imaginaire."
L'homme-danseur est seul susceptible d'operer la synthese de ces deux
modalites spatiales. C'est a toutes "ces lois que l'homme danseur est
etroitement lie de maniere invisible. Il obeit aux lois du corps autant
qu'a celles de l'espace, a son prpre sentiment autant qu a celui de
l'espace" Mais de cet espace (doue d'une ame tout comme le sujet
humain) a notre propre corps, des echanges continus ne cessent de se
produire.

(40) Le corps depose ses empreintes dans l'espace ou demeurent,
comme autant de traces, "de volumes flottants" "De la geometrie au sol,
de la succession de lignes droites, de diagonales, du cercle et des
courbes, surgit presque d'elle meme une stereometrie de l'espace par la
verticalite de la figure dansante en mouvement S l'on se represente
l'espace rempli d'une masse plastique et molle, dans laquelle les
etapes du mouvement du" danseur se solidifient comme des formes
negatives, on met en evidence la relation immediate entre la
planimetrie de la surface au sol et la stereometrie de l'espace" (Oskar
Schlemmer Mathematiques de la danse)

(41) the psychoenergetic model we use is a guattarian model where semiotic energies and a permanent interaction body without organs and desire machines produce social dynamics.

(49) http://www.emf.org/tudor/About/toneburst_frag.html

(50) In her paintings, Ogielska was interested in "visual synthesis of
complex structures . . . following the observation that the appeal of
complexity arises neither from predetermined organisation, nor from
complete randomness: complex structures emerge from interactions of
their parts." They were assembled from many "fragments" creating images
of structured disorder of desert stone patterns, fractured earth, and
other natural subjects . (http://www.emf.org/tudor/Articles/kluver_martin.html)
(1996)Sound Into Image:
The Collaboration Between David Tudor and Sophia Ogielska by
Billy Kluver and Julie Martin

(51) Three different colored groups of graphic shapes describing the active elements
in the performance emerged: 12 blue images of potentiometers for controlling
signal distribution; 6 red images of input output switching; 5 green images for frequency control and selection and phase shift; yellow lines represent the constant
input from tape recorders.

(52)(cahM.p64)

(53) Brian Holmes Conversations n2

(54) "As alternatives, Cleaver mentions the Mexican image of a
woven hammock that adapts to each person's body, his own notion of
the "electronic fabric of struggle," and Deleuze and Guattari's
rhizome - before finally developing the metaphor of oceanic flows
(...) What attracts him in
this latter metaphor is the image of subsurface currents, the vast
processes of intermixture, the temporalities of crystallization,
liquefaction, evaporation... But perhaps the epistemological
disruption that erupted from a multitude of localities" (Brian Holmes, 2003)

(55) The nomadic subject: the free autonomous subject which exists momentarily in an ever shifting array of possibilities as desiring machines distribute flows across the body without organs.
(Guattari)

(57) Guattari 'on machines'

(57) Zapatista Social Netwar in Mexico, Arquilla and Rondfelt 1998 in Holmes 2003

(58) Splitting Subject of Enunciation/Subject of
Utterance
In any  utterance, Benveniste distinguishes two subjects: the speaking
subject, or subject of enunciation, and the subject of speech, or the
subject of the utterance. For example, if I say "Mary bought a car
today," I am the speaking subject (subject of enunciation), and "Mary"
is the subject of the utterance [the grammatical subject of the
sentence "I" uttered.]. If I say "I forgot what I was going to do," the
"I" within the sentence is the subject of utterance, and 'I' who
uttered the sentence is the subject of enunciation (Benveniste
218-220).    Notice how the "I" in the last example seems to be
internally split between the "I" that is confessing forgetting and the
"I" that once knew what it was going to do.

(59) Schizonanalysis: l'analyse de l'incidence des agencements d'enonciation sur les productions semiotiques et subjectives, dans un contexte problematique donne (p.23)
les schizonalyses, chimeres n.50 2003

(60) The Panic Movement, Arrabal explains in La Constellation Jodorowsky, "was based on the explosion of reason. We knew what has become obvious for science today: that we are unable to explain the world solely through the means of reason. We are not soldiers for confusion. What we are for is uncertainty, the impossibility to explain the fact that time and space is an illusion
http://www.jaybabcock.com/jodomean.html