"If life is an autopoetic, far-from-equilibrium phenomenon, living cells should still contain significant fragments of preliving systems. Vestiges of life's origin may still exist, a stuttering genesis for scientists patient enough to listen" (82).

"Life is the representation, the "presencing" of past chemistries, a past environment of the early Earth that, because of life, remains on the modern Earth. It is the watery, membrane-bounded encapsulation of space-time" (86).

Regarding bacteria: "their survival imperative led to their inventing every major kind of metabolic transformation on the planet." Writing takes place in the space of delay (the "stuttering forward"), as metabolic transformation.

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

Margulis and Sagan, page 79:

"Life seems to have originated in whatever were the primordial ancestors of modern bacteria. Chemical systems that became biological systems, these first beings would have metablolized and incorporated energy, nutrients, water, and salts into their developing selves. The first cells formed. As in Jantsch's analogy [discussed earlier on page ?] of the person stumbling forward to avoid falling on his face, so membrane-bounded cells prelicating RNA and producing other molecules stumbled onto DNA-based RNA and protein synthesis; that is, reproduction became a means to retain self-maintenance, to postpone a return to thermodynamic equilibrium."

"Our instictive desire to live is directly related to the autopoietic imperative to survive, itself related to the "yearning" of heat to dissipate" (80).

"Remember that when life became autopoietic it postponed indefinitely the moment of total heat equalization and loss of order. Using the energy of food and sunlight, life has thwarted thermodynamic equilibrium" (80)

When introducing wiki to a group of new students, the designer of the pedagogy is soliciting participation from people who might have different needs regarding equilibrium/disequillibrium and different uses for practices of autopoiesis and allopoeisis.

"Evolution, no less than the nucleic acid replication of autopoiesis and reproduction, is a "stumbling forward" to stave off the threat of thermodynamic dissolution" Again, if the nonlocal and distributed writer awareness is as of yet utapped in one writer, that writer might indeed confuse thermodynamic "dissolution" and "dissipation."

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

BIOSdelay

"Is it not the order of pure law, which gives back to the people their liberty and to presence its sovereignty, always the supplement of a natural order somewhere deficient? When the supplement accomplishes its office and fills the lack, there is no harm done. The abyss is the chasm which can remain open between the lapse of Nature and the delay of the supplement" (Of Grammatology 298).

-"signifiers that are in some way nonsignifying" (299)

Delay as gathering technique, ok, but what about delay as a depatterning tool. creates noise.

Group heuristics unfold "in the between," and rhythmic writing seems to "amplify" the silences, and extend the durations of collective attentional focus on the noisiness and interference patterns that bracket these lacunae, which puts what we will (below) call delay patterns into shared space, thereby making it possible and much easier for writers to interupt each other, and jump from one attractor state to another. This process can be experimental and developmental in the sense of rhetorical or imaginative invention, or it can simply help writers find the next word, phrase, or sentence for the sequence under construction

This mixture of anticipation, delay, shared perception, aggregate attention, create active, redundant, resonant fields—this is the commons. The commons is resonance. Derrida's "common-element or medium" explicit connects Danielou's sonic "bhuta" (shared attention and perception made easier via immersive medium of sound), which I will elaborate on, below, with Aristoxenus' rhythmizomena (shared rhythmizable media) that we heard about in chapter 2.

Thermodynamicist Stanley Salthe theorizes a crucial role for delay, and "holding" (yoga's restraint, the kala of holding open) in the measurement and production and description of information in far-from-equilibrium systems. Salthe develops a particular definition of information as a measure of exergy. "Information is any configuration that might have been different, providing that it delays energy dissipation so that the energy is dissipated more completely" (http://www.ecologyandsociety.org/vol7/iss3/art3/main.html) This calls to mind Derrida's (1981) emphasis on the impossibility of exhausting the pharmakon. Because delay forestalls the creation of new configurations, it can be effaciously deployed to create more shared space. "This reaon alone should already suffice to prevent us from reconstituting the entire chain of significations of the pharmakon. No absolute privelege allows us to absolutely master its textual system. This limitation can and should nevertheless be displaced to a certain extent. The possibilitiies and powers of displacement are extremely diverse in nature, and, rather than enumerating here all their titles, let us attempt to produce some of their effects as we go along, as we continue our march through the Platonic problematic of writing" (96). Again, in infodynamic space, whether ye be pundit or Pandit, being right is less useful and persuasive than timing the dissipation of energy or information in a given context. Therefore heuistics enter into the play of rhythmic participation. Such participation jams the over-parsing, and all the dangers of answering only to the perfect alignment of what Danielou calls the comma. Like the pause in a sentence, a comma can also be said to take a breath for music: if, rather than try to "correct" the comma, we allowed the comma in music to let the noise in, musical writing would be recognized as a mode of receptivity that welcomed links as Lucretius welcomed the "clinamen," the irregular beat or generative deviation. Writing, when it proceeds according practices of linking, or, as Salthe would have it, by placing temporary restraints on connections to forestall force and maximize the negentropy of a given context (context, a system or entrainment of systems), will depend on a participatory listening practice, an ongoing persuasive practice of metanoia mixed with the ability to let go, and exercise restraint. Tropes of anticipation and delay techniques create the dub-like space where we make and break links. Delay, as a device for tuning Derrida's "powers of displacement," creates space for writing together, for writing in rhythm, whether the media be phonograph, tape, wiki, or somewhere in between. Although a rigorous examination of the analog and digital electronics devoted to aural delay techniques is beyond the scope of this argument, subsequent research will report on these delay technologies in detail, and connect their emergence with the emergence of our awareness of what Vladimir Vernadsky and Teilhard de Chardin called the noosphere.

Delay is often taken to imply and used to designate inefficient lag, and procrastination. In these cases, delay tactics get a bad rap. Oliveros' practice shows us how to "repatch" these premises to include the musical development of delay. The delay effectuated by scratching a record also intervenes on time in a way that allows rhythm to instruct us, and enjoin us to follow patterns of organic energy and bear witness to their effects. At the "same time," delay makes room to transformatively engage the dissipation of patterns in our next moves; and so, our "just-in-time" response-ability is tuned up as we tune down to a mode of listening solicited by delay patterns, which build infinite variations on basic echo "locations." The delay modifications of a rhetorical space can also produce a particularly generative stochasticism, a surprisingly memetic stuttering that allows counterarguments (the very coefficients of slight difference that delay patterns seem to chart) to coexist and even overlay into new patterns, new levels of pattern-matching in and across media. Even though the "noisy," stochastic time-space we create when we use prolepsis and delay to find each other's sequences brings us together, these practices continue to "jiggle" the connections, always looking for the "weak links" essential to premise-matching and pattern sharing. In fact, most neuroscientists will agree with Hans Christian von Baeyer (2004) when he argues that stochastic resonance plays a functional and indispensible role in our ability to become aroused, and to muster and allocate attention.(p. 126 ff). Resonance technologies allow both hesistation mantras and anticipation mantras to constantly comingle with unpredictable results, even though these basic and acoustically palpable sample-and-hold durations, enabled by delay at its limit (where it merges with click-tracks and other "on the one" strategies of community formation), are basically predictable and repeatable gestures. As such they become part of the pattern-sharing dance especially in small clusters of writers, whether they be Coltrane's quartet or a group of students researching alternative fuel options.

Delay, in other words, intervenes on habit structures in "almost real time," as Oliveros would say. Quintilian, for this same reason, valued the declamation exercises above all other rhetorical exercises. Delay, then suspends response at the kinematic level that Donald describes in his chapter on the "first hybrid mind," in just-in-time/space of gesture where "working memory, attention, and explicit recall are combined into a review routine that can evaluate the success of a self-initiated action in context, and modify it accordingly.....the most compelling example of this ability is our unique sensitivity to rhythm" (A Mind So Rare 272). Rich Doyle (2006), in LSDNA, describes the suspension of observation that Huxley reports in his mescaline writings, providing a precise illustration of how noise, in this case, the depatterning effectuated by a plant adjunct, creates the conditions for a delay phenomenology. This suspension or delay, at the kinematic register described by Donald (rhythm), takes place in an n-dimensional cartography of links (the forging of connections and the blockages of connections).Govinda's rhetoric (in the handbook sense) is a guide for navigating the topologies of meditative space, and like Quinitilian's work, bundles the findings of long traditions for new "platforms." The select/mix/render handbook of Aristides discussed in chapter 2, by analogy, likewise compresses the rhythmic science of Greece to the degree that it can be transmitted in text. Delay causes time-slips, and so instantiates a focus on the nonlinear space where linking can happen, and distributed productivity can emerge. Doyle explains that when a subject in Heinrich Kluver's mescaline studies of the 1920s discovered that he and his friend, "Nissel" are indeed inseperable, part of the same "fretwork," he is fact "recapitulates Tat tvam Asi, an ecosystemic reality principle from the Upanishads that renders the separation of world and self into the optical and topological illusion that it is....the interactivity of the fretwork seemingly induced by writing on mescaline suggests that the forms sought by Kluver as "constants" are navigational aids for a non local psyche, 'Nissel as I.'" (LSDNA) First, "non verifiable information" learning to inhabit ecologies saturated in non verifiable information requires practices that the writing "I" both compresses response-time to the kinematic register described by Donald, and, at the same time, creates delay ontologies of recursive patterning, where, as Donald explains, humans can share attention/perception/memory space. In this interactive space, humans evolved pre-linguistic practices and developed "complex repertoire" and this repertoire of gestures "will regulate shared attention." The most crucial point Donald makes concerns the necessity of clustering over fine-tuning commas into place. Because"these patterns of behavior are transmitted across cultural generations by repeating the same basic sequences in the context of a pedagogy," we must continue to find ways to play together in our compositional practices of teaching and learning (Donald 255, emphasis added).

Working with teachers new to both teaching and wiki helped introduce thousands of freshman to our Composition Program's wikidelic pedagogy.

On 9/5/06, Trey Conner wrote:

BIOS chat

me: good morning mobius

http://noosphere.princeton.edu/rdnelson/reg.html I see now what you were talking about

10:14 AM am giving myself 'til 11 to write on this, maybe pivot on the point of latency

10:16 AM the latency being the 10 minute delay on the visualization and audio displays

10:20 AM Wyrd: "Here is a simple but beautiful rendition of the tapestry idea, programmed by Greg Nelson. It shows a recent five minute period of data, with the newest data on the right. The egg scores are shown as warm color dots (reds, yellows) for positive deviations and cool colors (blues, greens) for negative deviations. Horizontal rows (like the warp of a carpet) are the individual egg sequences, and successive vertical columns of color (the weft) are seconds." http://noosphere.princeton.edu/

10:21 AM going to pick this up tomorrow: Information : the new language of science / Hans Christian von Baeyer.

Von Baeyer, Hans Christian.

call number:Q223.V66 2004 copy:1

hold pickup library:PATTEE AND PATERNO LIBRARIES

Rich: http://video.google.com/videoplay?docid=1079797626827646234&q=%22building+gods%22

10:22 AM egg is much smarter

i.e., noosphere.princeton.edu is much smarter than this transhuman stuff, yet less credible. why?

On 9/5/06, Trey Conner wrote:

"The Global Consciousness Project uses three different random event generators (REG or RNG). These are the PEAR portable REG, the All three use quantum-indeterminate electronic noise."

"In all cases, the design begins with white noise, for example in the PEAR Portable REG, a flat spectrum +/- 1 dB from 1100 Hz to 30 kHz. A low end cutoff at 1000 Hz eliminates frequencies at and below the data-sampling rate. This filtering, together with appropriate amplification and clipping, produces an approximate square wave with unpredictable temporal variation. Sampling at a constant 1 kHz rate is typical, although special sources have been constructed allowing higher rates (up to 2 MHz). Analog and digital processes are completely isolated by alternating these operations to exclude contamination of the analog noise train by digital pulses."

Allen Strange, in Electronic Music, explains that "digital delay lines operate conceptually the same as analog instruments. In this case, however, the sound is not stored as an analog electric charge, but rather as a series of numbers, usually in binary form. The original electronic signal is "sampled" by a high frequency clock [cue J.T. Frasier] in the same manner as a sample/hold......these "samples," once digitized, are passed on to a shift register at a rate determined by a sampling clock. The digital "memory" must then be quite long to store complex signals for any usable length of time. When the digital information reaches the end of memory, it is taken to a digital-to-analog convertor (DAC) and turned back into analog fluctuations in voltage. The total delay time depends on the clock and size of the memory......each digitized sample of an input waveform is represented by a digital "word" a fixed number of "bits" wide. A memory size is measured in terms of words. The memory size required for any given delay is derived from the following formula:

memory size (number of words) = sampling rate X delay time"

so, basically delay applications include echo (reverb), flanging, phasing, and the sustains produced by microphone howl (feedback). The technological means for isolating, manipulating, and describing these acoustic envelopes emerged in our perceptual toolkit during a time when Vernadsky and others were beginning to describe the "Earth's mental envelope," the shared spheres of perception that spiritualize and register our immanent connectedness. link out here to jazz, social, cultural, aesthetic, and spiritual explorations of resonance technologies such as delay The EGG project selects and measures the connections between our most ornate mathematics and the exogenous intention matrices that our scientific heritage has classically located in individual "minds."

"At each of a growing number (about 40 in late 2001; over 60 in 2005) of host sites around the world, one of these well-qualified sources of random bits (REG or RNG) is attached to a computer running custom software to collect data continuously at the rate of one 200-bit trial per second. This local system is referred to as an "egg," and the whole network has been dubbed the "EGG," standing for "electrogaiagram," because its design is reminiscent of an EEG for the earth. (Of course this is just an evocative name; we are recording statistical parameters, not electrical measures.) "

Working with Vernadsky and Teilhard's definitions of noosphere, the Galactic Research Institute frame the biospheric/noospheric transition in this way: "Defined as Earth's mental envelope, above yet discontinuous with the biosphere, the noosphere is the imminent stage of the globalization of the human mind and the evolution of its intelligence. The noosphere thus represents a radical shift from the present attitude and means of human existence. According to the Law of Time, the noosphere actually marks the advent of universal telepathy among the human species, and the consequent spiritualization of life on Earth" http://www.lawoftime.org/archives/noosphere.html

"First, if awareness of all sensory stimuli is delayed by about .5 sec, following the patten found in somatic sensations, then our awareness of our sensory world is substantially delayed from its actual occurrence." (Libet, Mind Time, p. 70).

PEAR, Remote perception, and measuring student "research skills"

cue Rotman's mathematical tripartate mathematical agency diagram (subject-person-agent), then read the web site describing PEAR's 3 main research activities (human/machine anomalies, remote perception, and the development of theoretical models): here, the protocols of remote perception experiments provide clues for how to temper over-quantification in the Library Research Project: "In another class of studies, the ability of human participants to acquire information about spatially and temporally remote geographical targets, otherwise inaccessible by any of the usual sensory channels, has been thoroughly demonstrated over several hundred carefully conducted experiments. The protocol requires one participant, the agent, to be stationed at a randomly selected location at a given time, and there to observe and record impressions of the details and ambience of the scene. A second participant, the percipient, located far from the scene and with no prior information about it, tries to sense its composition and character and to report these in a similar format to the agents description" (http://www.princeton.edu/~pear/2a.html)

from an amazon review of Margins of Reality: "Section III deals with remote perception, and a system the authors devised to quantify the results of such experiments. The sample sizes and the data here are necessarily more sparse, but are still quite engaging. The anecdotal evidence at the end of the section made for some enjoyable reading, though stories of experiments where the subject completely missed the target seem conspicuously absent.

"

1. "The overall results are not noticeably affected by any of the secondary protocol parameters tested, or by variations in descriptor effectiveness, possible participant response biases, target distances from the percipients, or time intervals between perception efforts and target visitations by the agents. However, over the evolution of the analysis programs there has been a striking diminution of the anomalous yield that appears to be associated with the participants' growing attention to, and dependence upon, the progressively more detailed descriptor formats."

"progressively more detailed descriptor formats"

i.e. narratives, calling to mind the synch effect that takes hold when writers work in technologies that can be networked n-dimensionally (commons formation)

2. An intrinsic complementarity is thereby suggested between the analytical and intuitive aspects of the remote perception process that appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated" ie it introduces a "delay" Delay technologies create a space

read this vis-a-vis cassettte.

and this not from the interaction with small tech section of their research, it's in the remote perception, with regards to "secondary protocols" which is of folding/weaving observer/observed

phantom tollbooth allegory of "rhyme and reason"

pick up where the dissertation left of regarding "transmission strategies" of yogic and rhythmic pedagogies.

learnability and teachability of music, as well as writing:

what if

rather than notes

a sequence of moods (think raga).

how might this change teachability and learnability

it might be that this way makes it much easier, i.e both "the analytical and intuitive aspects of the" shared and enhanced processes of perception that go into acts of music and acts of writing in rhythm, like the remote perception process "appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated," which is to say it creates a space. Delay technologies, troped to a finer grain, create shared spaces, "enhanced" spheres of perception, or, put another way, "more connected," intertwingled, shared spheres of noospheric production capable of becoming more in tune with and therefore healing the biosphere.

protocols to test this in wiki?

example: When you [add the dimension of time http://en.wikipedia.org/wiki/Geographic_information_system#Adding_the_dimension_of_time ] to GIS technology, you can

s

Margins of Reality, Chapter 5 "Critical Counterpoint" margin notes transcribed, take one

counterpoint, a musical trope. prolepsis, anticipation. Counterargument is your friend. "Mediumistic investigations" are succeptible to counterpoint, or rather, open to them. Emphasizing the tidiness and the rigor, but not forgetting to remind us again of the promise and possibility that is foreclosed if research fails to oscillate to consideration of the affective range that such strictures of scientific inquiry are here attempting to measure and account for and measure, the authors note that "the evasiveness of the phenomena under carefully and controlled study may be the most damning scientific criticism of all, or it may reveal an important and illuminating characteristic," especially if aspects of the the medium the research is designed to detect toggle and even mesh the observer/observed continuum in ways that would of course be difficult to run controls for, and so "the tendency of a given preliminary or anecdotal effect to disappear or diminish when the experiment is tightened or when it is displayed to a jury of skeptical observers obviously casts major doubt on the scientific validity of the results. YET, it also brings to mind a number of other capabilities of consciousness which, while superfiicallly dissimilar, may not be totally irrelevant, notably the processes of aesthetic, intellectual, and functional creativity. Artistic, musical, or literary composition, lofty philosophical thought, pragmatic ingenuity, or romantic courtship are nto usually facilitated by rigid constraints or by the presence of a body of unsympathetic observers. Favorable ambience and mood can be important facilitators of such efforts, and creative achievement is unlikely ot occcur in overly sterile or hostil environments....virtually every creative person preserves some form of rettreat of sanctuary, and even the most analytical scientists will the concede the role of unstructured imagination in enhancing their technical insights" (53-54).

-dialing zero

-affect, creative achievement need an amenable ecology for sustainable growth, and developement.

the authors go on to site the necessity of a "theoretical leg" to match the practices/experiments underfoot here (in the PEAR "two step"), but indicate a LACUNA, here, a "void" (54).

next: page 156-158

shareriff

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

"If life is an autopoetic, far-from-equilibrium phenomenon, living cells should still contain significant fragments of preliving systems. Vestiges of life's origin may still exist, a stuttering genesis for scientists patient enough to listen" (82).

"Life is the representation, the "presencing" of past chemistries, a past environment of the early Earth that, because of life, remains on the modern Earth. It is the watery, membrane-bounded encapsulation of space-time" (86).

Regarding bacteria: "their survival imperative led to their inventing every major kind of metabolic transformation on the planet." Writing takes place in the space of delay (the "stuttering forward"), as metabolic transformation.

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

Margulis and Sagan, page 79:

"Life seems to have originated in whatever were the primordial ancestors of modern bacteria. Chemical systems that became biological systems, these first beings would have metablolized and incorporated energy, nutrients, water, and salts into their developing selves. The first cells formed. As in Jantsch's analogy [discussed earlier on page ?] of the person stumbling forward to avoid falling on his face, so membrane-bounded cells prelicating RNA and producing other molecules stumbled onto DNA-based RNA and protein synthesis; that is, reproduction became a means to retain self-maintenance, to postpone a return to thermodynamic equilibrium."

"Our instictive desire to live is directly related to the autopoietic imperative to survive, itself related to the "yearning" of heat to dissipate" (80).

"Remember that when life became autopoietic it postponed indefinitely the moment of total heat equalization and loss of order. Using the energy of food and sunlight, life has thwarted thermodynamic equilibrium" (80)

When introducing wiki to a group of new students, the designer of the pedagogy is soliciting participation from people who might have different needs regarding equilibrium/disequillibrium and different uses for practices of autopoiesis and allopoeisis.

"Evolution, no less than the nucleic acid replication of autopoiesis and reproduction, is a "stumbling forward" to stave off the threat of thermodynamic dissolution" Again, if the nonlocal and distributed writer awareness is as of yet utapped in one writer, that writer might indeed confuse thermodynamic "dissolution" and "dissipation."

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

BIOSdelay

"Is it not the order of pure law, which gives back to the people their liberty and to presence its sovereignty, always the supplement of a natural order somewhere deficient? When the supplement accomplishes its office and fills the lack, there is no harm done. The abyss is the chasm which can remain open between the lapse of Nature and the delay of the supplement" (Of Grammatology 298).

-"signifiers that are in some way nonsignifying" (299)

Delay as gathering technique, ok, but what about delay as a depatterning tool. creates noise.

Group heuristics unfold "in the between," and rhythmic writing seems to "amplify" the silences, and extend the durations of collective attentional focus on the noisiness and interference patterns that bracket these lacunae, which puts what we will (below) call delay patterns into shared space, thereby making it possible and much easier for writers to interupt each other, and jump from one attractor state to another. This process can be experimental and developmental in the sense of rhetorical or imaginative invention, or it can simply help writers find the next word, phrase, or sentence for the sequence under construction

This mixture of anticipation, delay, shared perception, aggregate attention, create active, redundant, resonant fields—this is the commons. The commons is resonance. Derrida's "common-element or medium" explicit connects Danielou's sonic "bhuta" (shared attention and perception made easier via immersive medium of sound), which I will elaborate on, below, with Aristoxenus' rhythmizomena (shared rhythmizable media) that we heard about in chapter 2.

Thermodynamicist Stanley Salthe theorizes a crucial role for delay, and "holding" (yoga's restraint, the kala of holding open) in the measurement and production and description of information in far-from-equilibrium systems. Salthe develops a particular definition of information as a measure of exergy. "Information is any configuration that might have been different, providing that it delays energy dissipation so that the energy is dissipated more completely" (http://www.ecologyandsociety.org/vol7/iss3/art3/main.html) This calls to mind Derrida's (1981) emphasis on the impossibility of exhausting the pharmakon. Because delay forestalls the creation of new configurations, it can be effaciously deployed to create more shared space. "This reaon alone should already suffice to prevent us from reconstituting the entire chain of significations of the pharmakon. No absolute privelege allows us to absolutely master its textual system. This limitation can and should nevertheless be displaced to a certain extent. The possibilitiies and powers of displacement are extremely diverse in nature, and, rather than enumerating here all their titles, let us attempt to produce some of their effects as we go along, as we continue our march through the Platonic problematic of writing" (96). Again, in infodynamic space, whether ye be pundit or Pandit, being right is less useful and persuasive than timing the dissipation of energy or information in a given context. Therefore heuistics enter into the play of rhythmic participation. Such participation jams the over-parsing, and all the dangers of answering only to the perfect alignment of what Danielou calls the comma. Like the pause in a sentence, a comma can also be said to take a breath for music: if, rather than try to "correct" the comma, we allowed the comma in music to let the noise in, musical writing would be recognized as a mode of receptivity that welcomed links as Lucretius welcomed the "clinamen," the irregular beat or generative deviation. Writing, when it proceeds according practices of linking, or, as Salthe would have it, by placing temporary restraints on connections to forestall force and maximize the negentropy of a given context (context, a system or entrainment of systems), will depend on a participatory listening practice, an ongoing persuasive practice of metanoia mixed with the ability to let go, and exercise restraint. Tropes of anticipation and delay techniques create the dub-like space where we make and break links. Delay, as a device for tuning Derrida's "powers of displacement," creates space for writing together, for writing in rhythm, whether the media be phonograph, tape, wiki, or somewhere in between. Although a rigorous examination of the analog and digital electronics devoted to aural delay techniques is beyond the scope of this argument, subsequent research will report on these delay technologies in detail, and connect their emergence with the emergence of our awareness of what Vladimir Vernadsky and Teilhard de Chardin called the noosphere.

Delay is often taken to imply and used to designate inefficient lag, and procrastination. In these cases, delay tactics get a bad rap. Oliveros' practice shows us how to "repatch" these premises to include the musical development of delay. The delay effectuated by scratching a record also intervenes on time in a way that allows rhythm to instruct us, and enjoin us to follow patterns of organic energy and bear witness to their effects. At the "same time," delay makes room to transformatively engage the dissipation of patterns in our next moves; and so, our "just-in-time" response-ability is tuned up as we tune down to a mode of listening solicited by delay patterns, which build infinite variations on basic echo "locations." The delay modifications of a rhetorical space can also produce a particularly generative stochasticism, a surprisingly memetic stuttering that allows counterarguments (the very coefficients of slight difference that delay patterns seem to chart) to coexist and even overlay into new patterns, new levels of pattern-matching in and across media. Even though the "noisy," stochastic time-space we create when we use prolepsis and delay to find each other's sequences brings us together, these practices continue to "jiggle" the connections, always looking for the "weak links" essential to premise-matching and pattern sharing. In fact, most neuroscientists will agree with Hans Christian von Baeyer (2004) when he argues that stochastic resonance plays a functional and indispensible role in our ability to become aroused, and to muster and allocate attention.(p. 126 ff). Resonance technologies allow both hesistation mantras and anticipation mantras to constantly comingle with unpredictable results, even though these basic and acoustically palpable sample-and-hold durations, enabled by delay at its limit (where it merges with click-tracks and other "on the one" strategies of community formation), are basically predictable and repeatable gestures. As such they become part of the pattern-sharing dance especially in small clusters of writers, whether they be Coltrane's quartet or a group of students researching alternative fuel options.

Delay, in other words, intervenes on habit structures in "almost real time," as Oliveros would say. Quintilian, for this same reason, valued the declamation exercises above all other rhetorical exercises. Delay, then suspends response at the kinematic level that Donald describes in his chapter on the "first hybrid mind," in just-in-time/space of gesture where "working memory, attention, and explicit recall are combined into a review routine that can evaluate the success of a self-initiated action in context, and modify it accordingly.....the most compelling example of this ability is our unique sensitivity to rhythm" (A Mind So Rare 272). Rich Doyle (2006), in LSDNA, describes the suspension of observation that Huxley reports in his mescaline writings, providing a precise illustration of how noise, in this case, the depatterning effectuated by a plant adjunct, creates the conditions for a delay phenomenology. This suspension or delay, at the kinematic register described by Donald (rhythm), takes place in an n-dimensional cartography of links (the forging of connections and the blockages of connections).Govinda's rhetoric (in the handbook sense) is a guide for navigating the topologies of meditative space, and like Quinitilian's work, bundles the findings of long traditions for new "platforms." The select/mix/render handbook of Aristides discussed in chapter 2, by analogy, likewise compresses the rhythmic science of Greece to the degree that it can be transmitted in text. Delay causes time-slips, and so instantiates a focus on the nonlinear space where linking can happen, and distributed productivity can emerge. Doyle explains that when a subject in Heinrich Kluver's mescaline studies of the 1920s discovered that he and his friend, "Nissel" are indeed inseperable, part of the same "fretwork," he is fact "recapitulates Tat tvam Asi, an ecosystemic reality principle from the Upanishads that renders the separation of world and self into the optical and topological illusion that it is....the interactivity of the fretwork seemingly induced by writing on mescaline suggests that the forms sought by Kluver as "constants" are navigational aids for a non local psyche, 'Nissel as I.'" (LSDNA) First, "non verifiable information" learning to inhabit ecologies saturated in non verifiable information requires practices that the writing "I" both compresses response-time to the kinematic register described by Donald, and, at the same time, creates delay ontologies of recursive patterning, where, as Donald explains, humans can share attention/perception/memory space. In this interactive space, humans evolved pre-linguistic practices and developed "complex repertoire" and this repertoire of gestures "will regulate shared attention." The most crucial point Donald makes concerns the necessity of clustering over fine-tuning commas into place. Because"these patterns of behavior are transmitted across cultural generations by repeating the same basic sequences in the context of a pedagogy," we must continue to find ways to play together in our compositional practices of teaching and learning (Donald 255, emphasis added).

Working with teachers new to both teaching and wiki helped introduce thousands of freshman to our Composition Program's wikidelic pedagogy.

On 9/5/06, Trey Conner wrote:

BIOS chat

me: good morning mobius

http://noosphere.princeton.edu/rdnelson/reg.html I see now what you were talking about

10:14 AM am giving myself 'til 11 to write on this, maybe pivot on the point of latency

10:16 AM the latency being the 10 minute delay on the visualization and audio displays

10:20 AM Wyrd: "Here is a simple but beautiful rendition of the tapestry idea, programmed by Greg Nelson. It shows a recent five minute period of data, with the newest data on the right. The egg scores are shown as warm color dots (reds, yellows) for positive deviations and cool colors (blues, greens) for negative deviations. Horizontal rows (like the warp of a carpet) are the individual egg sequences, and successive vertical columns of color (the weft) are seconds." http://noosphere.princeton.edu/

10:21 AM going to pick this up tomorrow: Information : the new language of science / Hans Christian von Baeyer.

Von Baeyer, Hans Christian.

call number:Q223.V66 2004 copy:1

hold pickup library:PATTEE AND PATERNO LIBRARIES

Rich: http://video.google.com/videoplay?docid=1079797626827646234&q=%22building+gods%22

10:22 AM egg is much smarter

i.e., noosphere.princeton.edu is much smarter than this transhuman stuff, yet less credible. why?

On 9/5/06, Trey Conner wrote:

"The Global Consciousness Project uses three different random event generators (REG or RNG). These are the PEAR portable REG, the All three use quantum-indeterminate electronic noise."

"In all cases, the design begins with white noise, for example in the PEAR Portable REG, a flat spectrum +/- 1 dB from 1100 Hz to 30 kHz. A low end cutoff at 1000 Hz eliminates frequencies at and below the data-sampling rate. This filtering, together with appropriate amplification and clipping, produces an approximate square wave with unpredictable temporal variation. Sampling at a constant 1 kHz rate is typical, although special sources have been constructed allowing higher rates (up to 2 MHz). Analog and digital processes are completely isolated by alternating these operations to exclude contamination of the analog noise train by digital pulses."

Allen Strange, in Electronic Music, explains that "digital delay lines operate conceptually the same as analog instruments. In this case, however, the sound is not stored as an analog electric charge, but rather as a series of numbers, usually in binary form. The original electronic signal is "sampled" by a high frequency clock [cue J.T. Frasier] in the same manner as a sample/hold......these "samples," once digitized, are passed on to a shift register at a rate determined by a sampling clock. The digital "memory" must then be quite long to store complex signals for any usable length of time. When the digital information reaches the end of memory, it is taken to a digital-to-analog convertor (DAC) and turned back into analog fluctuations in voltage. The total delay time depends on the clock and size of the memory......each digitized sample of an input waveform is represented by a digital "word" a fixed number of "bits" wide. A memory size is measured in terms of words. The memory size required for any given delay is derived from the following formula:

memory size (number of words) = sampling rate X delay time"

so, basically delay applications include echo (reverb), flanging, phasing, and the sustains produced by microphone howl (feedback). The technological means for isolating, manipulating, and describing these acoustic envelopes emerged in our perceptual toolkit during a time when Vernadsky and others were beginning to describe the "Earth's mental envelope," the shared spheres of perception that spiritualize and register our immanent connectedness. link out here to jazz, social, cultural, aesthetic, and spiritual explorations of resonance technologies such as delay The EGG project selects and measures the connections between our most ornate mathematics and the exogenous intention matrices that our scientific heritage has classically located in individual "minds."

"At each of a growing number (about 40 in late 2001; over 60 in 2005) of host sites around the world, one of these well-qualified sources of random bits (REG or RNG) is attached to a computer running custom software to collect data continuously at the rate of one 200-bit trial per second. This local system is referred to as an "egg," and the whole network has been dubbed the "EGG," standing for "electrogaiagram," because its design is reminiscent of an EEG for the earth. (Of course this is just an evocative name; we are recording statistical parameters, not electrical measures.) "

Working with Vernadsky and Teilhard's definitions of noosphere, the Galactic Research Institute frame the biospheric/noospheric transition in this way: "Defined as Earth's mental envelope, above yet discontinuous with the biosphere, the noosphere is the imminent stage of the globalization of the human mind and the evolution of its intelligence. The noosphere thus represents a radical shift from the present attitude and means of human existence. According to the Law of Time, the noosphere actually marks the advent of universal telepathy among the human species, and the consequent spiritualization of life on Earth" http://www.lawoftime.org/archives/noosphere.html

"First, if awareness of all sensory stimuli is delayed by about .5 sec, following the patten found in somatic sensations, then our awareness of our sensory world is substantially delayed from its actual occurrence." (Libet, Mind Time, p. 70).

PEAR, Remote perception, and measuring student "research skills"

cue Rotman's mathematical tripartate mathematical agency diagram (subject-person-agent), then read the web site describing PEAR's 3 main research activities (human/machine anomalies, remote perception, and the development of theoretical models): here, the protocols of remote perception experiments provide clues for how to temper over-quantification in the Library Research Project: "In another class of studies, the ability of human participants to acquire information about spatially and temporally remote geographical targets, otherwise inaccessible by any of the usual sensory channels, has been thoroughly demonstrated over several hundred carefully conducted experiments. The protocol requires one participant, the agent, to be stationed at a randomly selected location at a given time, and there to observe and record impressions of the details and ambience of the scene. A second participant, the percipient, located far from the scene and with no prior information about it, tries to sense its composition and character and to report these in a similar format to the agents description" (http://www.princeton.edu/~pear/2a.html)

from an amazon review of Margins of Reality: "Section III deals with remote perception, and a system the authors devised to quantify the results of such experiments. The sample sizes and the data here are necessarily more sparse, but are still quite engaging. The anecdotal evidence at the end of the section made for some enjoyable reading, though stories of experiments where the subject completely missed the target seem conspicuously absent.

"

1. "The overall results are not noticeably affected by any of the secondary protocol parameters tested, or by variations in descriptor effectiveness, possible participant response biases, target distances from the percipients, or time intervals between perception efforts and target visitations by the agents. However, over the evolution of the analysis programs there has been a striking diminution of the anomalous yield that appears to be associated with the participants' growing attention to, and dependence upon, the progressively more detailed descriptor formats."

"progressively more detailed descriptor formats"

i.e. narratives, calling to mind the synch effect that takes hold when writers work in technologies that can be networked n-dimensionally (commons formation)

2. An intrinsic complementarity is thereby suggested between the analytical and intuitive aspects of the remote perception process that appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated" ie it introduces a "delay" Delay technologies create a space

read this vis-a-vis cassettte.

and this not from the interaction with small tech section of their research, it's in the remote perception, with regards to "secondary protocols" which is of folding/weaving observer/observed

phantom tollbooth allegory of "rhyme and reason"

pick up where the dissertation left of regarding "transmission strategies" of yogic and rhythmic pedagogies.

learnability and teachability of music, as well as writing:

what if

rather than notes

a sequence of moods (think raga).

how might this change teachability and learnability

it might be that this way makes it much easier, i.e both "the analytical and intuitive aspects of the" shared and enhanced processes of perception that go into acts of music and acts of writing in rhythm, like the remote perception process "appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated," which is to say it creates a space. Delay technologies, troped to a finer grain, create shared spaces, "enhanced" spheres of perception, or, put another way, "more connected," intertwingled, shared spheres of noospheric production capable of becoming more in tune with and therefore healing the biosphere.

protocols to test this in wiki?

example: When you [add the dimension of time http://en.wikipedia.org/wiki/Geographic_information_system#Adding_the_dimension_of_time ] to GIS technology, you can

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

Announcing BIOS: The Poetics of Life in Digital Media, hosted by the

Center for Literary Computing at West Virginia University in Morgantown,

WV. September 14-16, 2006.

BIOS: The Poetics of Life in Digital Media is an interdisciplinary

symposium on the re-invention of life in digital media. The term BIOS

captures capture boundary-crossing and hybridization of human and

machine. For the ancient Greeks, BIOS referred to particular forms of

life rather than life in general (zoe). BIOS therefore, was the form of

life specific to the development of human society and political culture.

Understanding BIOS means understanding how humans adapt nature into

culture. In computer science, by contrast, BIOS means something quite

different: the basic input output system, the lowest level of code that

allows a computer to run. BIOS is burnt into computer hardware and

enables the machine to boot and run software programs and media. The two

meanings of BIOS resonate with each other as basic requirements for a

social system, whether in civic space or in cyberspace.

BIOS will combine talks and creative work / performances. We already

plan a rich and exciting schedule. Proposals are welcome on any area

within the topic. Keywords/subtopics include but are not limited to:

electronic literature; hypertext; embodiment; media specific analysis;

net.art; digital performance; complexity and emergence; the limits of

computability; posthumanism and cyborgs; virtual reality; artificial

life; biotechnology; cyberfeminism; biopower; social software; ...

Innovative formats and approaches are welcome. We will also consider

remote/tele-presentations. Webcasts/podcasts of the event and an DVD

archive will be available. Send proposals of no longer than 200 words to

clc@mail.wvu.edu by July 1, 2006.

BIOS is organized and hosted by the Center for Literary Computing, and

co-organized by the Electronic Poetry Center / Digital Media Studies

program at SUNY-Buffalo. The symposium is associated with the E-Poetry

series of festivals and symposia.

s

--

-----

cue Margins of Reality, page 141-143

tags: resonance

listening: p'ansori, karnatic, tful282 "father," scratch acid "flying houses"

remotely percieving: Weedon Island Preserve ( http://www.weedonislandcenter.org/)

Starting up anew, and bringing the psu wiki pedagogy to a new context, has me thinking about some of the challenges that come with all the affect wiki and musical modes of invention bring to a writing classroom. Wiki and musical modes of interaction allow so much "character" and "personality" relative to a print-only or browser-based webbed environment--indeed, some of the noise sources are egoic displays and pyres. Styles of engagement, allowed to flourish freely, can create productive dissonance, yes, but such performances are difficult to assess, are often not repeatable or shareable, and can derail a class in no time flat. If we consider this trade-off alongside a a very importantdistiction, between what wiki "is" and what a wiki can do, we distinctions between wiki, defined in tech terms, and the range of practical, philosophical, and rhetorical shapes any given wiki might take. Medium matters, but in the case of wiki, with it's n-dimensional intertwingling capacities, writers can dramatically scatter and gather attention in order to form very specific digital communities. And although I cast them here as a "binary bias" rhetoric of scatter/gather, writers enact such digital rhetorics by means of a diversity of strategies, and these strategies create web presences with little in common--not just in terms of content, but also form, protocols for making alterations, and the overall purpose of a given wiki. Thererfore,

-"what can a wiki do?" is likely to be an effacious question early in any given wiki-emergence.

-Composition instructors are developing diverse and specific pedagogical designs with wiki, and these designs necessary involve a fair amount of modelling on the instructor's part. Therefore, it is important to remember that heathy wiki ecology must allow for the development of diverse uses for wiki. If a pedogogy is to grown, imitation and iteration attributed to the medium and the particular "tuning it is in ("writer's workshop," or "wikidelic," or "argumentative writing," or "creative writing") needs to somehow give way to developmental pathways, mutations, and itineraries while still maintaining the "tonic" or "the One," that is while still remaining stable enough to resemble a course.

Perhaps the biggest "gutter" in the PEAR research on human/machine interactions, Jahne and Dunne admit, are the "psychological parameters"........

describe the diversity of operator techniques, then..

"if there is any unity in this diversity of strategy, it would that the most effective operators seem to associate successful performance with the attainment of some sense of "resonance"" (142)

shareriff

On 9/12/06, Trey Conner < trey.conner@gmail.com> wrote:

Margins of Reality, Chapter 5 "Critical Counterpoint" margin notes transcribed, take one

counterpoint, a musical trope. prolepsis, anticipation. Counterargument is your friend. "Mediumistic investigations" are succeptible to counterpoint, or rather, open to them. Emphasizing the tidiness and the rigor, but not forgetting to remind us again of the promise and possibility that is foreclosed if research fails to oscillate to consideration of the affective range that such strictures of scientific inquiry are here attempting to measure and account for and measure, the authors note that "the evasiveness of the phenomena under carefully and controlled study may be the most damning scientific criticism of all, or it may reveal an important and illuminating characteristic," especially if aspects of the the medium the research is designed to detect toggle and even mesh the observer/observed continuum in ways that would of course be difficult to run controls for, and so "the tendency of a given preliminary or anecdotal effect to disappear or diminish when the experiment is tightened or when it is displayed to a jury of skeptical observers obviously casts major doubt on the scientific validity of the results. YET, it also brings to mind a number of other capabilities of consciousness which, while superfiicallly dissimilar, may not be totally irrelevant, notably the processes of aesthetic, intellectual, and functional creativity. Artistic, musical, or literary composition, lofty philosophical thought, pragmatic ingenuity, or romantic courtship are nto usually facilitated by rigid constraints or by the presence of a body of unsympathetic observers. Favorable ambience and mood can be important facilitators of such efforts, and creative achievement is unlikely ot occcur in overly sterile or hostil environments....virtually every creative person preserves some form of rettreat of sanctuary, and even the most analytical scientists will the concede the role of unstructured imagination in enhancing their technical insights" (53-54).

-dialing zero

-affect, creative achievement need an amenable ecology for sustainable growth, and developement.

the authors go on to site the necessity of a "theoretical leg" to match the practices/experiments underfoot here (in the PEAR "two step"), but indicate a LACUNA, here, a "void" (54).

next: page 156-158

shareriff

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

"If life is an autopoetic, far-from-equilibrium phenomenon, living cells should still contain significant fragments of preliving systems. Vestiges of life's origin may still exist, a stuttering genesis for scientists patient enough to listen" (82).

"Life is the representation, the "presencing" of past chemistries, a past environment of the early Earth that, because of life, remains on the modern Earth. It is the watery, membrane-bounded encapsulation of space-time" (86).

Regarding bacteria: "their survival imperative led to their inventing every major kind of metabolic transformation on the planet." Writing takes place in the space of delay (the "stuttering forward"), as metabolic transformation.

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

Margulis and Sagan, page 79:

"Life seems to have originated in whatever were the primordial ancestors of modern bacteria. Chemical systems that became biological systems, these first beings would have metablolized and incorporated energy, nutrients, water, and salts into their developing selves. The first cells formed. As in Jantsch's analogy [discussed earlier on page ?] of the person stumbling forward to avoid falling on his face, so membrane-bounded cells prelicating RNA and producing other molecules stumbled onto DNA-based RNA and protein synthesis; that is, reproduction became a means to retain self-maintenance, to postpone a return to thermodynamic equilibrium."

"Our instictive desire to live is directly related to the autopoietic imperative to survive, itself related to the "yearning" of heat to dissipate" (80).

"Remember that when life became autopoietic it postponed indefinitely the moment of total heat equalization and loss of order. Using the energy of food and sunlight, life has thwarted thermodynamic equilibrium" (80)

When introducing wiki to a group of new students, the designer of the pedagogy is soliciting participation from people who might have different needs regarding equilibrium/disequillibrium and different uses for practices of autopoiesis and allopoeisis.

"Evolution, no less than the nucleic acid replication of autopoiesis and reproduction, is a "stumbling forward" to stave off the threat of thermodynamic dissolution" Again, if the nonlocal and distributed writer awareness is as of yet utapped in one writer, that writer might indeed confuse thermodynamic "dissolution" and "dissipation."

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

BIOSdelay

"Is it not the order of pure law, which gives back to the people their liberty and to presence its sovereignty, always the supplement of a natural order somewhere deficient? When the supplement accomplishes its office and fills the lack, there is no harm done. The abyss is the chasm which can remain open between the lapse of Nature and the delay of the supplement" (Of Grammatology 298).

-"signifiers that are in some way nonsignifying" (299)

Delay as gathering technique, ok, but what about delay as a depatterning tool. creates noise.

Group heuristics unfold "in the between," and rhythmic writing seems to "amplify" the silences, and extend the durations of collective attentional focus on the noisiness and interference patterns that bracket these lacunae, which puts what we will (below) call delay patterns into shared space, thereby making it possible and much easier for writers to interupt each other, and jump from one attractor state to another. This process can be experimental and developmental in the sense of rhetorical or imaginative invention, or it can simply help writers find the next word, phrase, or sentence for the sequence under construction

This mixture of anticipation, delay, shared perception, aggregate attention, create active, redundant, resonant fields—this is the commons. The commons is resonance. Derrida's "common-element or medium" explicit connects Danielou's sonic "bhuta" (shared attention and perception made easier via immersive medium of sound), which I will elaborate on, below, with Aristoxenus' rhythmizomena (shared rhythmizable media) that we heard about in chapter 2.

Thermodynamicist Stanley Salthe theorizes a crucial role for delay, and "holding" (yoga's restraint, the kala of holding open) in the measurement and production and description of information in far-from-equilibrium systems. Salthe develops a particular definition of information as a measure of exergy. "Information is any configuration that might have been different, providing that it delays energy dissipation so that the energy is dissipated more completely" (http://www.ecologyandsociety.org/vol7/iss3/art3/main.html) This calls to mind Derrida's (1981) emphasis on the impossibility of exhausting the pharmakon. Because delay forestalls the creation of new configurations, it can be effaciously deployed to create more shared space. "This reaon alone should already suffice to prevent us from reconstituting the entire chain of significations of the pharmakon. No absolute privelege allows us to absolutely master its textual system. This limitation can and should nevertheless be displaced to a certain extent. The possibilitiies and powers of displacement are extremely diverse in nature, and, rather than enumerating here all their titles, let us attempt to produce some of their effects as we go along, as we continue our march through the Platonic problematic of writing" (96). Again, in infodynamic space, whether ye be pundit or Pandit, being right is less useful and persuasive than timing the dissipation of energy or information in a given context. Therefore heuistics enter into the play of rhythmic participation. Such participation jams the over-parsing, and all the dangers of answering only to the perfect alignment of what Danielou calls the comma. Like the pause in a sentence, a comma can also be said to take a breath for music: if, rather than try to "correct" the comma, we allowed the comma in music to let the noise in, musical writing would be recognized as a mode of receptivity that welcomed links as Lucretius welcomed the "clinamen," the irregular beat or generative deviation. Writing, when it proceeds according practices of linking, or, as Salthe would have it, by placing temporary restraints on connections to forestall force and maximize the negentropy of a given context (context, a system or entrainment of systems), will depend on a participatory listening practice, an ongoing persuasive practice of metanoia mixed with the ability to let go, and exercise restraint. Tropes of anticipation and delay techniques create the dub-like space where we make and break links. Delay, as a device for tuning Derrida's "powers of displacement," creates space for writing together, for writing in rhythm, whether the media be phonograph, tape, wiki, or somewhere in between. Although a rigorous examination of the analog and digital electronics devoted to aural delay techniques is beyond the scope of this argument, subsequent research will report on these delay technologies in detail, and connect their emergence with the emergence of our awareness of what Vladimir Vernadsky and Teilhard de Chardin called the noosphere.

Delay is often taken to imply and used to designate inefficient lag, and procrastination. In these cases, delay tactics get a bad rap. Oliveros' practice shows us how to "repatch" these premises to include the musical development of delay. The delay effectuated by scratching a record also intervenes on time in a way that allows rhythm to instruct us, and enjoin us to follow patterns of organic energy and bear witness to their effects. At the "same time," delay makes room to transformatively engage the dissipation of patterns in our next moves; and so, our "just-in-time" response-ability is tuned up as we tune down to a mode of listening solicited by delay patterns, which build infinite variations on basic echo "locations." The delay modifications of a rhetorical space can also produce a particularly generative stochasticism, a surprisingly memetic stuttering that allows counterarguments (the very coefficients of slight difference that delay patterns seem to chart) to coexist and even overlay into new patterns, new levels of pattern-matching in and across media. Even though the "noisy," stochastic time-space we create when we use prolepsis and delay to find each other's sequences brings us together, these practices continue to "jiggle" the connections, always looking for the "weak links" essential to premise-matching and pattern sharing. In fact, most neuroscientists will agree with Hans Christian von Baeyer (2004) when he argues that stochastic resonance plays a functional and indispensible role in our ability to become aroused, and to muster and allocate attention.(p. 126 ff). Resonance technologies allow both hesistation mantras and anticipation mantras to constantly comingle with unpredictable results, even though these basic and acoustically palpable sample-and-hold durations, enabled by delay at its limit (where it merges with click-tracks and other "on the one" strategies of community formation), are basically predictable and repeatable gestures. As such they become part of the pattern-sharing dance especially in small clusters of writers, whether they be Coltrane's quartet or a group of students researching alternative fuel options.

Delay, in other words, intervenes on habit structures in "almost real time," as Oliveros would say. Quintilian, for this same reason, valued the declamation exercises above all other rhetorical exercises. Delay, then suspends response at the kinematic level that Donald describes in his chapter on the "first hybrid mind," in just-in-time/space of gesture where "working memory, attention, and explicit recall are combined into a review routine that can evaluate the success of a self-initiated action in context, and modify it accordingly.....the most compelling example of this ability is our unique sensitivity to rhythm" (A Mind So Rare 272). Rich Doyle (2006), in LSDNA, describes the suspension of observation that Huxley reports in his mescaline writings, providing a precise illustration of how noise, in this case, the depatterning effectuated by a plant adjunct, creates the conditions for a delay phenomenology. This suspension or delay, at the kinematic register described by Donald (rhythm), takes place in an n-dimensional cartography of links (the forging of connections and the blockages of connections).Govinda's rhetoric (in the handbook sense) is a guide for navigating the topologies of meditative space, and like Quinitilian's work, bundles the findings of long traditions for new "platforms." The select/mix/render handbook of Aristides discussed in chapter 2, by analogy, likewise compresses the rhythmic science of Greece to the degree that it can be transmitted in text. Delay causes time-slips, and so instantiates a focus on the nonlinear space where linking can happen, and distributed productivity can emerge. Doyle explains that when a subject in Heinrich Kluver's mescaline studies of the 1920s discovered that he and his friend, "Nissel" are indeed inseperable, part of the same "fretwork," he is fact "recapitulates Tat tvam Asi, an ecosystemic reality principle from the Upanishads that renders the separation of world and self into the optical and topological illusion that it is....the interactivity of the fretwork seemingly induced by writing on mescaline suggests that the forms sought by Kluver as "constants" are navigational aids for a non local psyche, 'Nissel as I.'" (LSDNA) First, "non verifiable information" learning to inhabit ecologies saturated in non verifiable information requires practices that the writing "I" both compresses response-time to the kinematic register described by Donald, and, at the same time, creates delay ontologies of recursive patterning, where, as Donald explains, humans can share attention/perception/memory space. In this interactive space, humans evolved pre-linguistic practices and developed "complex repertoire" and this repertoire of gestures "will regulate shared attention." The most crucial point Donald makes concerns the necessity of clustering over fine-tuning commas into place. Because"these patterns of behavior are transmitted across cultural generations by repeating the same basic sequences in the context of a pedagogy," we must continue to find ways to play together in our compositional practices of teaching and learning (Donald 255, emphasis added).

Working with teachers new to both teaching and wiki helped introduce thousands of freshman to our Composition Program's wikidelic pedagogy.

On 9/5/06, Trey Conner wrote:

BIOS chat

me: good morning mobius

http://noosphere.princeton.edu/rdnelson/reg.html I see now what you were talking about

10:14 AM am giving myself 'til 11 to write on this, maybe pivot on the point of latency

10:16 AM the latency being the 10 minute delay on the visualization and audio displays

10:20 AM Wyrd: "Here is a simple but beautiful rendition of the tapestry idea, programmed by Greg Nelson. It shows a recent five minute period of data, with the newest data on the right. The egg scores are shown as warm color dots (reds, yellows) for positive deviations and cool colors (blues, greens) for negative deviations. Horizontal rows (like the warp of a carpet) are the individual egg sequences, and successive vertical columns of color (the weft) are seconds." http://noosphere.princeton.edu/

10:21 AM going to pick this up tomorrow: Information : the new language of science / Hans Christian von Baeyer.

Von Baeyer, Hans Christian.

call number:Q223.V66 2004 copy:1

hold pickup library:PATTEE AND PATERNO LIBRARIES

Rich: http://video.google.com/videoplay?docid=1079797626827646234&q=%22building+gods%22

10:22 AM egg is much smarter

i.e., noosphere.princeton.edu is much smarter than this transhuman stuff, yet less credible. why?

On 9/5/06, Trey Conner wrote:

"The Global Consciousness Project uses three different random event generators (REG or RNG). These are the PEAR portable REG, the All three use quantum-indeterminate electronic noise."

"In all cases, the design begins with white noise, for example in the PEAR Portable REG, a flat spectrum +/- 1 dB from 1100 Hz to 30 kHz. A low end cutoff at 1000 Hz eliminates frequencies at and below the data-sampling rate. This filtering, together with appropriate amplification and clipping, produces an approximate square wave with unpredictable temporal variation. Sampling at a constant 1 kHz rate is typical, although special sources have been constructed allowing higher rates (up to 2 MHz). Analog and digital processes are completely isolated by alternating these operations to exclude contamination of the analog noise train by digital pulses."

Allen Strange, in Electronic Music, explains that "digital delay lines operate conceptually the same as analog instruments. In this case, however, the sound is not stored as an analog electric charge, but rather as a series of numbers, usually in binary form. The original electronic signal is "sampled" by a high frequency clock [cue J.T. Frasier] in the same manner as a sample/hold......these "samples," once digitized, are passed on to a shift register at a rate determined by a sampling clock. The digital "memory" must then be quite long to store complex signals for any usable length of time. When the digital information reaches the end of memory, it is taken to a digital-to-analog convertor (DAC) and turned back into analog fluctuations in voltage. The total delay time depends on the clock and size of the memory......each digitized sample of an input waveform is represented by a digital "word" a fixed number of "bits" wide. A memory size is measured in terms of words. The memory size required for any given delay is derived from the following formula:

memory size (number of words) = sampling rate X delay time"

so, basically delay applications include echo (reverb), flanging, phasing, and the sustains produced by microphone howl (feedback). The technological means for isolating, manipulating, and describing these acoustic envelopes emerged in our perceptual toolkit during a time when Vernadsky and others were beginning to describe the "Earth's mental envelope," the shared spheres of perception that spiritualize and register our immanent connectedness. link out here to jazz, social, cultural, aesthetic, and spiritual explorations of resonance technologies such as delay The EGG project selects and measures the connections between our most ornate mathematics and the exogenous intention matrices that our scientific heritage has classically located in individual "minds."

"At each of a growing number (about 40 in late 2001; over 60 in 2005) of host sites around the world, one of these well-qualified sources of random bits (REG or RNG) is attached to a computer running custom software to collect data continuously at the rate of one 200-bit trial per second. This local system is referred to as an "egg," and the whole network has been dubbed the "EGG," standing for "electrogaiagram," because its design is reminiscent of an EEG for the earth. (Of course this is just an evocative name; we are recording statistical parameters, not electrical measures.) "

Working with Vernadsky and Teilhard's definitions of noosphere, the Galactic Research Institute frame the biospheric/noospheric transition in this way: "Defined as Earth's mental envelope, above yet discontinuous with the biosphere, the noosphere is the imminent stage of the globalization of the human mind and the evolution of its intelligence. The noosphere thus represents a radical shift from the present attitude and means of human existence. According to the Law of Time, the noosphere actually marks the advent of universal telepathy among the human species, and the consequent spiritualization of life on Earth" http://www.lawoftime.org/archives/noosphere.html

"First, if awareness of all sensory stimuli is delayed by about .5 sec, following the patten found in somatic sensations, then our awareness of our sensory world is substantially delayed from its actual occurrence." (Libet, Mind Time, p. 70).

PEAR, Remote perception, and measuring student "research skills"

cue Rotman's mathematical tripartate mathematical agency diagram (subject-person-agent), then read the web site describing PEAR's 3 main research activities (human/machine anomalies, remote perception, and the development of theoretical models): here, the protocols of remote perception experiments provide clues for how to temper over-quantification in the Library Research Project: "In another class of studies, the ability of human participants to acquire information about spatially and temporally remote geographical targets, otherwise inaccessible by any of the usual sensory channels, has been thoroughly demonstrated over several hundred carefully conducted experiments. The protocol requires one participant, the agent, to be stationed at a randomly selected location at a given time, and there to observe and record impressions of the details and ambience of the scene. A second participant, the percipient, located far from the scene and with no prior information about it, tries to sense its composition and character and to report these in a similar format to the agents description" (http://www.princeton.edu/~pear/2a.html)

from an amazon review of Margins of Reality: "Section III deals with remote perception, and a system the authors devised to quantify the results of such experiments. The sample sizes and the data here are necessarily more sparse, but are still quite engaging. The anecdotal evidence at the end of the section made for some enjoyable reading, though stories of experiments where the subject completely missed the target seem conspicuously absent.

"

1. "The overall results are not noticeably affected by any of the secondary protocol parameters tested, or by variations in descriptor effectiveness, possible participant response biases, target distances from the percipients, or time intervals between perception efforts and target visitations by the agents. However, over the evolution of the analysis programs there has been a striking diminution of the anomalous yield that appears to be associated with the participants' growing attention to, and dependence upon, the progressively more detailed descriptor formats."

"progressively more detailed descriptor formats"

i.e. narratives, calling to mind the synch effect that takes hold when writers work in technologies that can be networked n-dimensionally (commons formation)

2. An intrinsic complementarity is thereby suggested between the analytical and intuitive aspects of the remote perception process that appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated" ie it introduces a "delay" Delay technologies create a space

read this vis-a-vis cassettte.

and this not from the interaction with small tech section of their research, it's in the remote perception, with regards to "secondary protocols" which is of folding/weaving observer/observed

phantom tollbooth allegory of "rhyme and reason"

pick up where the dissertation left of regarding "transmission strategies" of yogic and rhythmic pedagogies.

learnability and teachability of music, as well as writing:

what if

rather than notes

a sequence of moods (think raga).

how might this change teachability and learnability

it might be that this way makes it much easier, i.e both "the analytical and intuitive aspects of the" shared and enhanced processes of perception that go into acts of music and acts of writing in rhythm, like the remote perception process "appears to limit the extent to which such anomalous effects can be simultaneously produced and evaluated," which is to say it creates a space. Delay technologies, troped to a finer grain, create shared spaces, "enhanced" spheres of perception, or, put another way, "more connected," intertwingled, shared spheres of noospheric production capable of becoming more in tune with and therefore healing the biosphere.

protocols to test this in wiki?

example: When you [add the dimension of time http://en.wikipedia.org/wiki/Geographic_information_system#Adding_the_dimension_of_time ] to GIS technology, you can

On 9/5/06, Trey Conner < trey.conner@gmail.com> wrote:

Announcing BIOS: The Poetics of Life in Digital Media, hosted by the

Center for Literary Computing at West Virginia University in Morgantown,

WV. September 14-16, 2006.

BIOS: The Poetics of Life in Digital Media is an interdisciplinary

symposium on the re-invention of life in digital media. The term BIOS

captures capture boundary-crossing and hybridization of human and

machine. For the ancient Greeks, BIOS referred to particular forms of

life rather than life in general (zoe). BIOS therefore, was the form of

life specific to the development of human society and political culture.

Understanding BIOS means understanding how humans adapt nature into

culture. In computer science, by contrast, BIOS means something quite

different: the basic input output system, the lowest level of code that

allows a computer to run. BIOS is burnt into computer hardware and

enables the machine to boot and run software programs and media. The two

meanings of BIOS resonate with each other as basic requirements for a

social system, whether in civic space or in cyberspace.

BIOS will combine talks and creative work / performances. We already

plan a rich and exciting schedule. Proposals are welcome on any area

within the topic. Keywords/subtopics include but are not limited to:

electronic literature; hypertext; embodiment; media specific analysis;

net.art; digital performance; complexity and emergence; the limits of

computability; posthumanism and cyborgs; virtual reality; artificial

life; biotechnology; cyberfeminism; biopower; social software; ...

Innovative formats and approaches are welcome. We will also consider

remote/tele-presentations. Webcasts/podcasts of the event and an DVD

archive will be available. Send proposals of no longer than 200 words to

clc@mail.wvu.edu by July 1, 2006.

BIOS is organized and hosted by the Center for Literary Computing, and

co-organized by the Electronic Poetry Center / Digital Media Studies

program at SUNY-Buffalo. The symposium is associated with the E-Poetry

series of festivals and symposia.

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