<nettime> =cw4t7abs 0+2 || !nter.bzzp

=cw4t7abs on Sat, 19 Sep 1998 03:19:48 +0200 (MET DST)
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<nettime> =cw4t7abs 0+2 || !nter.bzzp
To: nettime-l@Desk.nl
Subject: <nettime> =cw4t7abs 0+2 || !nter.bzzp
From: antiorp@tezcat.com (=cw4t7abs)
Date: Fri, 18 Sep 1998 18:48:02 -0500 (CDT)
Sender: owner-nettime-l@basis.Desk.nl
subject: Star-Ledger article about your Webpage
cc:
bcc:
x-Attachments:

>Hello!

hallo.

>I was referred to you by Carlton Wilkinson (he's a great admirer
>of yours).

blush.blush.

> I am writing a story for The Star-Ledger's Spotlight section
>about composers on the Web.

>How did you showcase your work before the Website?

for the most part have not
[age faktor]

>How much time each week do you spend tinkering with the Site?

generally a projekt is finalized within a month.
actual `updates` are infrequent. as is also the case
with 0f0003 software internet projektz are presented
in `final` form.


>What did your first Website look like?

resemblant of current manifestation.
listening to data ==
misuse\deconstruction of netscape's vers.1.0.browser.
manipulation of html tags in order to deliver
multiple background animations \ strobe effects,
multiple document titles for
subliminal\machine-gun 7bit [ascii] oscillations.

technology is the outer envelope ,
the concealment one must fragment
[with ones own set of routines]
so that one may access that which one is ultimately
unable to fully disassemble. [i.e the source code often
incorporates additional data presented to the inquisitive.
much is inaccessible to the uninitiated, requiring
a certain degree of technological knowledge or
at least savvyness to comprehend or even navigate]

numerous persons access the site repeatedly
in order to progress through the preliminary stages.
this parallels the broad utilization of =cw4t7abs syntax
[may access 0f0003 website for the =cw4t7abs enkoder v.0+2
by antiorp or http://195.163.114.73/7-11/cw4t7abs.asp
for the =cw4t7abs emulator 2000 - programmed by -  Tobias Galeus.
<root@distansskolan.com>]
since generally human machines [all that which is - is a machine]
aren't anticipating errors, browser deconstruction or
denials of service, incorporating these into the programming
generates an element of intrigue, seduction and frustration.
the sum total == kaos or organized disorder if you will.
[error is the mark of the higher organism]
it presents an environment with which one is invited to interact
or perhaps control.


while interactive multimedia is a buzz[y] utterance
in a capitalist society infatuated with excess, rapid access
and the banal, 0f0003 invites the user to probe silently - deeply.
rewards are seldom guaranteed - full understanding
is relative and always incomplete.
[only that which isn't understood is worth understanding]
the decision is relegated upon the external observer.
that which one discerns is resultant of one's own probe - beauty
and meaning one extracts is ones own uncovering.
it is a personal discovery never to be duplicated.

[last phaze of beauty = beauty due2 error]


> Is your work about the technology itself or is the Internet more of a
> tool?
>

any metatheory is circular, and especially
that of computation and technology.
theories increase human understanding of,
and systematize human knowledge of the subject matter.

it is inevitable that work created with the use of
technology is referent to the technology itself.

lewis richardson :
"before we can attempt to measure anything we must have
a preliminary ideal of what we wish to measure - but it
would be most unwise to give that ideal one rigid definition
at the outset, because the experience gained during the process
of measurement should be allowed to react upon and refine the ideal".

can the .net be a mere tool when it is the object, subject and
referent in itself +?

[an event horizon or singularity is a point beyond which a
vocabulary cannot penetrate.
data amounts equivalent to one person's lifetime experiences
may be downloaded in minutes. the planet as a whole disgorges
1 trillion pieces of data per day.
the new forms of computation even create a sense of an end of
all human creativity.
the first ultra intelligent machine is the last invention that
man need ever produce. humans posses the choice to involve
themselves in this process or watch it happen]

the observer is an external observer.
technology contains an internal relational system,
its own 'society'. as users of technology humans can
accept the relational character of every identity.
technology  is self-contained because it manages to be
identical to itself, as every nodal point is constituted
with an intertextuality that, unlike biostructures,
do not overflow it.








|||0+2




X-Attachments:

>Hey, thanks for the interesting reply. I have a couple of follow-ups...


hallo.
+ pardon the delay.
email threats can refract one.s thought patterns.

if interested in
writing \ publishing an article on the topic of
fascism  + internet please inform.

[reply : I wish I could get paid to write an article about fascism in the media,
but alas, this is a relatively harmless story about composers on the
Web. I want to include a couple of quotes from you to stir things up a
bit. I hope big corporate interests aren't able to infiltrate the
Internet, it is the ultimate embodiment of democracy and free speech


qu!k re: s0ls0l. !nternet = embodiment of fasc!zm]


>Does computer intellegence = creativity, emotion?

anzwer 00 -

computer intelligence is a set of complexity hierarchies. it is an
organism of hardware and programming that holds a potential to
explore and develop higher levels of thought. computing machines
provide models and conceptual tools for the cognitive sciences
which ultimately effect creative processes. the explicit logic of
computing generates a discourse at the border of mind and matter
and in doing so destabilizes the distinctions between the two, and
computer intelligence and human intelligence are closely equated
due to the language game, rendering the discourse logocentric.

anzwer 03 - from my earlier pozt .

______________+000___
the event horizon...
_____________________

An event horizon or singularity is a point beyond which a vocabulary cannot
penetrate.
The new forms of autonomous computation even create a sense of an end of
all human creativity.
The first ultra intelligent machine is the last invention that man need
ever produce.

Humans posses the choice to involve themselves in this process or watch it
happen. What little time is left in this century is rehearsal time for the
primary psychological responsibility of the 21st century:
letting go. with dignity.


Philosopher Langer stated in the 1940s the need to break through the old
sequential discursive mechanisms of thought: "So long as we admit only
discursive
symbolism as a bearer of ideas, thought in this restricted sense must be
regarded
as our only intellectual activity."

Electronic circuits operating in parallel offer the epochal possibility of
a second intellectual activity, able to complement sequential thought and, for
the first time in history to go beyond its limits.

It is to destroy the tendency towards classical and neo-classical equilibrium
and to create a new disequilibrium - to engage in the process of creative
destruction - this is the role of innovators in the bit society.

Humans will be forced to add a plural form of the word intelligence
because humans and computers will exhibit different forms of intelligences.

Children born today will grow up to live in a world where computers
outnumber them;
where bit evolution plays a prominent role;
where thought no longer holds the exclusive franchise;
and tasks that used to belong to human minds are reassigned to electronic
circuits then evolve into completely new forms


>I'm curious about your gender/location/dayjob,


gender   - 0 | null pointer
location - copenhagen.denmark.europe.
dayjob   - 0 | null pointer


tzzt. antiorp.





_+ zubzekuentl+e reduszd |2| [s0l.s0l. m3d!a.sug3r]



Antiorp, a mysterious Danish composer whose sex - or even humanity - is
unknown, promotes the
idea that technology used to create art inevitably becomes the subject
of the art itself.
Errors, for example.

'Generally, (people) aren't anticipating errors, browser deconstruction
or denials of service,"
Antiorp writes. "Incorporating these into programming generates an
element of intrigue,
seduction and frustration. Error is the mark of the higher organism, and
it presents an
environment with which one is invited to interact or perhaps control."

Antiorp is one of the stranger manifestations of cyber-culture. Its
compositions are collages
of coded text,error messages that Fox-trot across the screen and
assorted bleeps and buzzes. As
to whether this comprises music, Antiorp evades the question.

'Data amounts equivalent to one person's lifetime experiences can be
downloaded in minutes," it
writes. "And more importantly, humans are very poor at updating what
they know because they
have no efficient delete key."







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=cw4t7abs . 3nkod0r . verz!on 0+2
!p address == 2o4.2o2.8o.o2o : doma!n == censored : port == 80 : 4rom ==
censored : agent == mozilla .5.o1 [macintosh : i : ppc]
0f0003:m2sk!n3n:kunzt:m9ndfukc.98o.hTTp://194.19.130.194/=cw4t7abs



6sEk.0n.-d snd b!tez.1-hundred hour.wars.
how does god solve differential equations


_______________________________________+000___
time = parallel || bit evolution will come silently - in software
_______________________________________+000___



The inert pages of this presentation will be incomprehensible to humans.

detr.end.aus.
konkluz!on ov -++++++_______________________________________+000___
_______________________________________+000____________________

=cw4t7abs. l!zten!ng 2 data

everything

has

been
                                                said
            provided words
do
      not
                     change
      their
      meanings
  +
                     meaningz
      their
words



   ! d t a g : 0 f0 0 03 [ = c w 4 t 7 a b s ]
   ! p : 204.242.80.020
   d a t u m : samstag 04 april 1998 - 22.44.37
   k o n t e n t . ! d : r e p l a s z : a l l e z
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****************** |||||||||||||||||||||||||||||||||||| ||||||||||||||||||
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                           ||||||||||||||| 03, 1998
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=cw4t7abs . 3nkod0r . verz!on 0+2
!p address == 2o4.2o2.8o.o2o : doma!n == censored : port == 80 : 4rom ==
censored : agent == mozilla .5.o1 [macintosh : i : ppc]
0f0003:m2sk!n3n:kunzt:m9ndfukc.98o.hTTp://194.19.130.194/=cw4t7abs






\\



krop3rom || a9ff v.0+2


The science of noise

- the precise construction/restructuring of noise in an environment
inhabited by representation, relativization and allusion enables the
analysis of the constant barrage of generated noise interpolated with
abstract and vocal social commentary. If the decisive level of social
analysis is in language then this is highly indicative of the move of the
higher societies toward digitization. A collapse of unification through
multiplicity, KROP3ROM||A9FF is an exponent of opposing ideals, of
postmodern artistic and political thought.


KROP3ROM||A9FF is a language game. However the rules are either entirely
non-existent or require a constant updating of intellectual and social
systems knowledge. Most certainly, the positions of speaker (the music
itself), the listener and referent of information (in this context
information replaces the narrative element) create a relation of mutual
exteriority.  A cohesive communicative vehicle it is not, where as a form,
or structure within which a communicative discourse can take place, it
excels if the listener is competent. This work is unavoidably incoherent to
the ill-informed.


Here, the discursive temporality is circular, not linear like most
scientific discourse, and like most complicated musical forms only upon
repeated listening is the information relayed with any clarity. In this
context the work takes on credibility as a commentary on social forces (the
darker nature of much of its length suggests condemnation and support of
fascist values) and scientific language (where it plays its own game - it
is incapable, like science, of legitimizing other language games). The
status of legitimization takes on two tendencies, each of which appear to
extend in conflicting directions. First, it develops its own self
justification with its internal imagery and compositional techniques of
unification through thematic structures (rhythmically and referentially),
confirming its musical cohesion. Secondly, science (the science of computer
music, of social commentary, of politics and economy) expands its relation
to society, or the instrumentality of society. Computerization enables both
these opposing tendencies and Kroperom is circular in its internal
referentiality.



The theory of computerization has provided a model for the system control
that equates contingency with noise. The ideal: to eliminate contingency
and maximize control by the system. The elimination of contingency here
points to the reprezentationality in KROP3ROM||A9FF of social currency.
Perhaps most relevant is the appearance of a sample of the system control
machine Alpha60 from Godard's Alphville. The control of society by a
mainframe computer and its inevitable faults made only apparent with the
arrival of a man from an outside 'democratic' society. Like the
multiplication of sites of power and resistance on the .net and currents in
modern politics and economic management, there seems an effort to
complicate the social and extricate it from the theoretical clutches of
analytic and dialectic reason. KROP3ROM||A9FF redefines noise structure as
a locus of contingency, absence of subject and linguistic uncertainty.



This work exemplifies certain issues brought about due to the emergence of
computerization. A powerful discourse in systems management, as complicated
and formulaic as Hesse's Glass Bead Game, and probably as vague. Though it
may express the foundational theme: that our existence is becoming
increasingly characterized by machines, it challenges the instability of
digitization while remaining within the set itself. A degree in higher
mathematics would be desirable to fully comprehend the chaotic structures
of KROP3ROM||A9FF. The macro points to frameworks similar to fractal
patterns, demonstrating order and presence of pattern in apparently
irregular systems.



In KROP3ROM||A9FF there is no centered subject directing the listener
through a narrative, more a multidimensional logic of deleuzian strata and
assemblages, recalling the disfunctionality of concept and subject. Is
KROP3ROM||A9FF the disciplined consciousness of a scientist or social
theorist? The highly developed non-linearity contextualizes the binary
logic of the current systems as weak, proclaiming an anti-authoritarian
stance. Clearly acknowledging the intertextuality that constitutes social
and musical structures as a proliferation of linguistic instability giving
rise to increasingly unintelligible tendencies, KROP3ROM||A9FF is a radical
non-centered work mitigating the suspect notion of freedom as the flux of
desire.


0f0003||m2sk!n3nkunzt.m9ndfukc++
- hTTp://194.19.130.194/=cw4t7abs


ftp://ftp.ircam.fr/pub/forumnet/max/FAT/applications/0f0003.sea.bin
+ http://www.god-emil.dk/=cw4t7abs/0f0003/ztpd/0009.html

tezcat.com/~antiorp/6f6e-1700k.mov
tezcat.com/~antiorp/21-990k.mov
tezcat.com/~antiorp/61-550k.mov
tezcat.com/~antiorp/63-2200k.mov
tezcat.com/~antiorp/74-947k.mov
tezcat.com/~antiorp/75-1200k.mov
tezcat.com/~antiorp/97-2000k.mov
http://194.19.130.194/spCa/filez/krop3rom_a9ff-m9ndfukc.mov
http://194.19.130.194/spCa/filez/krop3rom_a9ff-m9ndfukc_01.mov


- data no!sz .01

http://194.19.130.194/spCa/filez/3t0y.zucx.sit.hqx
http://194.19.130.194/spCa/filez/-cw4t7abs_4ob1tenkr1pt1on.sit.hqx


- data no!sz .00

http://194.19.130.194/spCa/filez/kr0p3r0m-a9ff_trk-38.0.5.mp3
http://194.19.130.194/spCa/filez/kr0p3r0m_-a9ff_midi-t3kxt.mp3
http://194.19.130.194/spCa/filez/kr0p3r0m_a9ff.trk97+.mp3
http://194.19.130.194/spCa/filez/krop3rom_a9ff-humanzsukc.mp3
http://194.19.130.194/spCa/filez/krop3rom_a9ff_trk47.mp3
http://194.19.130.194/spCa/filez/krop3rom_hiv-sekuensz.mp3
http://194.19.130.194/spCa/filez/ppc.71oo.8o_rom.data.mp3
http://194.19.130.194/=cw4t7abs/=cw4t7abs.mp3

kurrent krop3rom || a9ff v.0+2 offer - anti decibel rekords
http://www.god-emil.dk/=cw4t7abs/0f0003/ztpd/0009.html

tezcat.com/~antiorp/punkt-||_protokol.html
http://194.19.130.194/spCa/zweite
http://tezcat.com/~antiorp/index3.html
http://194.19.130.194/=cw4t7abs/=cw4t7abs.mp3

http://order.kagi.com/?3wj
http://www.god-emil.dk/=cw4t7abs/0f0003/ztpd/lakk.shtml



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