The Alan Sondheim Mail Archive


After this I needed air.

The jumble begins to take advantage of screen resolution and frame/flicker
rate; objects revolve and generate lissajous/moire/illusory patterns as a
result of hatchings and cross-hatchings, read/write speed, cache speed,
and a host of other variables.Jumble changes from machine to machine,
resolution to resolution, and shading operators. Moving through the space,
turning video/sound on and off - the phenomenology changes in relation to
the dialectic established when an abacus was first used, at lightning
speed, bullae scattered everywhere. Every marker is always already virtu-
al, every marker is on the way towards disappearance, every annihilation
has the potential for memory, perhaps later, inscription. The jumble here
resolves, as every jumble does, on a micro-level; it is the non-aristotel-
ian that throws everything off, gesture which trips up where raster and
orthogonal configurations lie.

Jumble in physical reality = noisy, not chaotic. Jumble in Second Life =
equivalent to the order of perfection = the perfection of order.

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