The Alan Sondheim Mail Archive

November 18, 2008

Filigree, Julu Twine Bounce (cuthrough.mp4), part-objects, objet petit a cuthrough jpg series innn jpg series

From Wikipedia:

In the psychoanalytic theory of Jacques Lacan, objet petit a (object
little-a) stands for the unattainable object of desire. It is sometimes
called the object cause of desire. Lacan always insisted for it to remain
untranslated "thus acquiring the status of an algebraic sign." (Écrits).

In 1957, in his Seminar Les formations de l'inconscient, Lacan introduces
the concept of objet petit a as the imaginary part-object (see Melanie
Klein), an element which is imagined as separable from the rest of the
body. In the Seminar Le transfert (1960-1961) he articulates objet a with
the term agalma (Greek, an ornament). Just as the agalma is a precious
object hidden in a worthless box, so objet petit a is the object of desire
which we seek in the other.

In the Seminars L'angoisse (1962-1963) and The Four Fundamental Concepts
of Psychoanalysis (1964), objet petit a is defined as the leftover, the
remnant left behind by the introduction of the Symbolic in the Real. This
is further elaborated in the Seminar The Other Side of Psychoanalysis
(1969-1970), where Lacan elaborates his Four discourses. In the discourse
of the Master, one signifier attempts to represent the subject for all
other signifiers, but a surplus is always produced: this surplus is objet
petit a, a surplus meaning, a surplus of jouissance.

Slavoj Žižek explains this objet petit a in relation to Alfred Hitchcock's
MacGuffin: "[The] MacGuffin is objet petit a pure and simple: the lack,
the remainder of the real that sets in motion the symbolic movement of
interpretation, a hole at the center of the symbolic order, the mere
appearance of some secret to be explained, interpreted, etc." (Love thy
symptom as thyself).

From Wikipedia:

Objects are initially comprehended in the infant mind by their functions
and are termed "part objects". The breast that feeds the hungry infant is
the "good breast." The hungry infant that finds no breast is in relation
to the "bad breast." Through repeated experience, internal objects are
formed by the patterns emerging in one's subjective experience of the care
taking environment. These internalized images may or may not be accurate
representations of the actual, external others. With a "good enough"
"facillitating environment" part object functions eventually transform
into a comprehension of whole objects, which corresponds with the ability
to tolerate ambiguity and to see that both the "good" and the "bad" breast
are a part of the same "mommy."

From Wikipedia:

Filigree (formerly written filigrann or filigrane; also known as telkari,
the name given in Anatolia, meaning "wire work", and cift-isi, pronounced
chift-ishi, meaning "tweezers work") is a jewel work of a delicate kind
made with twisted threads usually of gold and silver or stitching of the
same curvy motif. It oftens suggests lace, and is most popular in French
fashion decoration from 1660 to the present. It is now exceedingly common
for ajoure jewellery work to be mislabelled as filigree. While both have
many open areas, filigree involves threads being soldered together to form
an object and ajoure involves holes being punched, drilled, or cut through
an existing piece of metal.

The word, which is usually derived from the Latin filum, thread, and
granum, grain, is not found in Ducange, and is indeed of modern origin.
According to Prof. Skeat it is derived from the Spanish filigrana, from
"filar", to spin, and grano, the grain or principal fibre of the material.

From Wikipedia:

This article is about the modern county of Julu. For the Julu County of
the Han Dynasty, see Julu County (Han Dynasty).

Julu County (???) is a county of Xingtai Prefecture, Hebei Province,
China. Prior to the Sui Dynasty, Julu had been known as Nanyi County
(???). The name was changed and became Julu, with the Chinese for Ju being
written either as ? or ?. In 1980, the name was standardized as ??.

From Wikipedia:

Twine is a strong thread or string composed of two or more smaller strands
or yarns twisted together. More generally, the term can be applied to any
thin cord.

Natural fibers used for making twine include cotton, sisal, jute, hemp,
henequen, and coir. A variety of synthetic fibers may also be used.

From Wikipedia:

Deflection, particularly of a solid object striking a surface

In entertainment:

Bounce (film), a 2000 film starring Gwyneth Paltrow
Bounce (musical), a 2003 musical by Stephen Sondheim and John Weidman
Bounce music, a style of hip hop music that originated in New Orleans
Bounce FM, a fictional radio station in the 2004 video game Grand Theft
Auto: San Andreas
Bounce (album), a 2002 album by Bon Jovi
"Bounce" (Bon Jovi song), a song from the album
"Bounce" (song), a 2005 single by Turkish pop singer Tarkan
"Bounce" (Sarah Connor song), a 2003 single by German artist Sarah Connor
A song by Timbaland from his 2007 album Timbaland Presents Shock Value
A song by System of a Down from their 2001 album Toxicity
A song by Aaron Carter from his 2000 album Aaron's Party (Come Get It)
A song by Katchafire from their 2003 album Revival
A series of children's programming, segments of which are broadcast on the
PBS Kids Sprout cable-television network

In sports:

Bounce (jump), a type of fence in equestrian events
Bounce (golf), a term referring to the shape of the head on certain golf
Running bounce, a skill in Australian rules football
Ball-up, a method of restarting play in Australian rules football

In technology:

Bounce (network), a networking term for masking connections, or sometimes
a synonym for reset when applied as a verb to a server
Bounce message, sent when e-mail delivery fails
Contact bounce, a common problem with mechanical switches and relays

In other:

Bounce (banking), to tender a check for which one has non-sufficient
funds, or the return of such a check
Bounce (fabric softener), an American brand of fabric softener sheet
produced by Procter & Gamble
Bounce (texture), in mouthfeel, the rate at which a foodstuff returns to
its original shape after partial compression
Bounce was the pet dog of poet Alexander Pope
An uptick in a candidate's polling numbers during a political campaign.

---------- Forwarded message ----------
Date: Tue, 18 Nov 2008 13:14:53 -0800
From: NASA Jet Propulsion Laboratory <>
To: "" <>
Subject: NASA Tests First Deep-Space Internet


Rhea Borja 818-354-0850
Jet Propulsion Laboratory, Pasadena, Calif.

Dwayne Brown 202-358-1726
NASA Headquarters, Washington

Katherine Trinidad 202-358-1100
NASA Headquarters, Washington

News Release: 2008-216                       November 18,

NASA Tests First Deep-Space Internet

PASADENA, Calif. - NASA has successfully tested the first deep space
communications network modeled on the Internet.

Working as part of a NASA-wide team, engineers from NASA's Jet Propulsion
Laboratory in Pasadena, Calif., used software called Disruption-Tolerant
Networking, or DTN, to transmit dozens of space images to and from a NASA
science spacecraft located about more than 32 million kilometers (20
million miles) from Earth.

"This is the first step in creating a totally new space communications
capability, an interplanetary Internet," said Adrian Hooke, team lead and
manager of space-networking architecture, technology and standards at
NASA Headquarters in Washington.

NASA and Vint Cerf, a vice president at Google, Inc., in Mountain View,
Calif., partnered 10 years ago to develop this software protocol. The DTN
sends information using a method that differs from the normal Internet's
Transmission-Control Protocol/Internet Protocol, or TCP/IP communication
suite, which Cerf co-designed.

The Interplanetary Internet must be robust enough to withstand delays,
disruptions and disconnections in space. Glitches can happen when a
spacecraft moves behind a planet, or when solar storms and long
communication delays occur. The delay in sending or receiving data from
Mars takes between three-and-a-half to 20 minutes at the speed of light.

Unlike TCP/IP on Earth, the DTN does not assume a continuous end-to-end
connection. In its design, if a destination path can't be found, the data
packets are not discarded. Instead, each network node keeps custody of
the information as long as necessary until it can safely communicate with
another node. This store-and-forward method, similar to basketball
players safely passing the ball to the player nearest the basket, means
that information does not get lost when no immediate path to the
destination exists. Eventually, the information is delivered to the end

"In space today, an operations team has to manually schedule each link
and generate all the commands to specify which data to send, when to send
it, and where to send it," said Leigh Torgerson, manager of the DTN
Experiment Operations Center at JPL. "With standardized DTN, this can all
be done automatically."

Engineers began a month-long series of DTN demonstrations in October.
Data were transmitted using NASA's Deep Space Network in demonstrations
occurring twice a week. Engineers use NASA's Epoxi spacecraft as a Mars
data-relay orbiter. Epoxi is on a mission to encounter Comet Hartley 2 in
two years.

"There are 10 nodes on this early interplanetary network," said Scott
Burleigh of JPL, lead software-engineer for the demonstrations. "One is
the Epoxi spacecraft itself and the other nine, which are on the ground
at JPL, simulate Mars landers, orbiters and ground mission-operations

This month-long experiment is the first in a series of planned
demonstrations to qualify the technology for use on a variety of upcoming
space missions, said Jay Wyatt, manager of the Space Networking and
Mission Automation Program Office at JPL. In the next round of testing, a
NASA-wide demonstration using new DTN software loaded on board the
International Space Station is scheduled to begin next summer.

In the next few years, the Interplanetary Internet could enable many new
types of space missions. Complex missions involving multiple landed,
mobile and orbiting spacecraft will be far easier to support through the
use of the Interplanetary Internet. It could also ensure reliable
communications for astronauts on the surface of the moon.

The Deep Impact Networking Experiment is sponsored by the Space
Communications and Navigation Office in NASA's Space Operations Mission
Directorate in Washington. NASA's Science Mission Directorate and
Discovery Program in Washington provided experimental access to the Epoxi
spacecraft. The Epoxi mission team provided critical support throughout
development and operations.

JPL is managed for NASA by the California Institution of Technology in

                                                      - end -

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Remove yourself from all mailings from NASA Jet Propulsion Laboratory.

Convolution matrix image processing - 17 images from SL -

In order to reproduce the emotional/compressive tenor of the original
state-of-affairs in the Second Life exhibition, I've worked for at least a
decade with Gimp's convolution matrices to bring you a kind of exactitude
I could only otherwise hint at. These photographs are one-of-a-kind hence
completely reproducible; each is another take yet on the augmented
filigree aspect of The Accidental Artist. Surely they are worthy of more
than a glance, less than a lifetime well spent doing otherwise? Check out
Digital Imaging, Trial and Applications, Howard Burdick, McGraw-Hill,

I usually shy away from image modification 'outside' Second Life, prefer-
ring to keep it within the bounds of the topography itself. Following
Bazin and others, it appears as if a certain veracity is lost when one
succumbs to overt digital filtering, as opposed to either direct-from-ccd-
to-you (with all the attendant processing that goes on there) or a minimal
augmentation, say slight blurring or saturation increase or raising the
contrast, whatever - designed to reproduce the 'effect' of the work upon
the subject-in-world (with hir attendant visual and psychological process-
ing). All of these distinctions are clearly suspect of course - but still
there's a difference between 'sweetening' or 'tending' an image, and
changing it drastically to hopefully reflect the affect in the original

All of this moves from digital to digital, remains within the framework of
the digital; all of this occurs within what might be considered 'sliding'
from an immersive three-dimensional virtual world experience (rendered as
a two-dimensional dynamic image), to a static two-dimensional recording of
that world as static image. (Of course, again, all of this is just appar-
ent, for in fact there are no static digital images - they're continually
refreshed on-screen. In print, they're static - in the sense I'm using the
word here - but in print they're not strictly digital. One can go on and
on with these distinctions.)

In any case, here are images which were actively filtered in ways that
might engage the viewer differently.

r\= mv23c5604865ensional recording of that world as image.

as dynamic and two-dimensional) to a static

As for emotional content - melancholia, sculptor, dusk, archaic, chthonic,
miasma, ghastly, sadness of ember sexuality, broken hearts; images on the
ways, out from worlds

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