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October 14 2018

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*ONLINE DISSERTATION (general proof)

Perceived Returns Motion FULL SECTION 1 (post-general thesis)
Previous Section0: When we stop watching (written-dictation) 8554words

This section:
00 line022 eSummary 1016
01 line048 pSummary 1173
02 line081 Thoughts On Temporal Loss 3912*
03 line155 Were We Are Going 2637
04 line206 Media and Race 618
05 line230 Some Proofs 1355
06 line379 Speech and TP 302
07 line394 Ultrareturns 3447
08 line484 -C 5190
09 line664 Media Health 3225
10 line735 Statement 608
11 line750 Abbreviations, Terms, & Nomenclature 525
12 line853 About Me 622
Total word count:33420 -- Section1: 24866words

4804122300 eSummary
I do not write academically. This is more than any lack of citation or footnotes and such. And so things like wider analysis, alternative position (such as those from other fields), and inclusion of other, gathered works - with only seeming lack of relevancy - is a important dialectic. That is because I do not read academically either. But I am always on point. Writing is not either pose nor profession. It seems a good place to start a summary....

There are two significant works predating this, then, that actually bare some relevance. My zeroth official research project, a timely infographic on the history of the Internet, and my zeroth official paper, a semi-historical analysis on the subject of intersectional art in the humanities with mass media and European scientific revolution, emphasizing Chinese paper technology. This published dissertion thus the second after these two on the subject of mass media.

Some intention here has been given to exploring the foundation of mass media studies as a serious field of study. So I have provided a short section on mathematical logical proof of the specific theme, centring on video mass media and related prior historical mediums. This summary is the only part written on computer, the rest hand written. For the sake of the reader, this lends some signature to my work in writing which has been dedicated for a few decades around writing technologies and how they converge with form. This is a return, then, to handwriting after a twenty year absense (my disciplines changing as I now depart from the arts for thirty years in place of the sciences).

Part of the difficulty in presenting mass media analysis was something found in my original research project. There is enough bias out there to be found, to be sure. But a serious lack of objectivity follows too. Doing my own research and presenting in tandum with the nature of network communications was essential. It do believe 'fact checking' is a reactionary term to cover for bias yet fails miserably to meet the mark of contemporary concerns. And it is hard to provide a concrete model or example to demonstrate that! How does one critically analyze mass media without publishing a book, releasing a documentary, setting up a dedicated webpage, and flying through the rigmarole of social media posted commentary-as-truth with microvideo, accusations of anything short of perfection, etc. ad infinitum? I do believe 'fact checking', fact from the root "do/make" will have its day and be exposed as 'accepted lies' to science's root "know".

In wanting to present a concise summary of perceived returns motion, I instead must start by defending my methods instead. I have always generally expected to be unheard, being told I do not garner income, unseen, as I do not generally sell my art to find its home, and unread, as there is 'no rest for the wicked' - for the most part, almost entirely all of the time. But that is the interesting thing about contemporary media. It also doesn't have to disappear. So it is that I have not stopped in thirty years....

When one creates, what antecedency leads one to that creative position, say, as opposed to a different position, including not creating anything at all? Consider a position motivated out of the following sets:
::{jealousy, envy, spite, rage, anger} => {popular, profittable, newsworthy, controversial, provocative}
::{pay, money, income, prestige, reputation, profession, opinion} => {honoured, rewarded, famed, respected}
::{truth, reason, principle, inquiry} => {ridiculed, excluded, censored, vilified}
As those who know me know I often say, "the way it is is the way it is and that is the way it is". Meaning, "you can't fight city hall," and, "all politics is local," and not the glib remark of someone casting off serious discussion so common amongst speech today. It is easy to say, 'it's all bullshit.' It is harder to say why, explain how shit came out of the bull's asshole, and then express solution. It is hard to do this because culture does not necessitate the first two sets be questioned, apart from simple criticism. (Criticism itself falling into the middle set.) To go back to my quote, it is easier to criticize communists or socialists in a capitalist or liberal society, or vice versa, but not the anarchist, unless that individual is actually a socialist or communist, or presumably in the case of those societies, the farcical liberal anarchist and the inane capitalist anarchist. I guess.

I have attempted to write in the oral style, bypassing proof-reading the opening section. Going through the rest, preserving oral style remains, with a emphasis on clarity. This came from my early books were I merge genre with technique and writing technology, i.e. my original trilogy (I have had three);
Paper fiction
Computer non-fiction essay
Mobile script
There are points to be made here. There is no style. There are no genres. Some of what motivates including what might seem like flowery prose comes from oft extensive experience expressing that way, as with sharing facts or inventive prose. The psychology of writing should compete with the psychology of reading rather than dictation according to style. I have written fiction and non-fiction in both stream of conscious and dictation. Style rests once speaking and writing intersperse and there is less discerning between the two. The 'more facts' of writing versus the 'high concision' of oral sharing. As is new to my routine here, sharing the linguistic hypothesis around the nature of human language is paramount in my daily life (this is one of the few pieces of writing I have done in ten years since the rise of social media). I know, urgently suspect, that however read, however sanguine with the mass readership, one cannot communicate with language except to oneself. Safety selects the hive mind.

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480506 pSummary

Media is the tenth planet; the ninth spoke on the wheel of dharma, if you will; required subject of the Mayan campus; the unwritten, unspoken sutra. Not ignored, as in the aversion to logic and rhetoric, at least as it is in the Anglosphere of influence.

Not strictly wisdom, quanta, neurology, language nor any integrated study. There was understanding of people who upon leaving Africa tens of thousands of years ago for, roughly, the Subcontinent and the development of concrete form to human language were uniformity between symbol or pictorial and verbal was essential for certain survival of the group. They like so many other comprehended media. But media is not some stoic vestige to the past. It unites under mass, divides under the individual. It can never quite achieve the art its users hope it can be, yet replaces it. This makes media a fundamental negative, highly entropic (potentially). And, again, gives us intel, provides space for knowledge sharing, and fosters life. Media is its own contradiction. If one were to do media, it becomes the undo'er - as though from democracy to dictatorship and back again. (The writer seeks media as answer for the cause of the written form!)

Thought conforms to memory as all the universe conform to human media. Archean life lacking certain nuclear or mitochondrial organelles still possess necessary protein-centric enzymatic media to repair cellular wall. So too are repairs to one's proverbial cell wall in text messages and fabricated pieces of plastic that, if you didn't know any better would swear are holding the entire world together (often I see parts of cars and so forth held together with common PVC-coated fabric tape).

Disserting on media, one must also consider one does so with media in mind. That is, use of media to criticize media analytically is a potential zero sum game to bias. Just as with police policing the police, one require some kind of ombudsman. Thus entereth so-called Media Study. 480507 Methodology is pertinent. Ought one to assume media is a known entity, thus analysis serve to unlock? Or as an unknown, demand inquiry into its ontological make-up and design? Ought not any theorist be subject to theory? Ought media be colonized; empirically scrutinized?

Media theorists ought to know the intersection of interest with interaction. How might one see past trend when one does not know said trend exists? But categorically, the same media theorist is subject to trend. And trend bias is but one cue towards media eigenvalue. For does the chemist have concern over the ink and paper bond on their chemistry paper? Does the concern inform the subject of the paper itself. - Unlikely in that case.

Discipline listed here are formal mode of traditional inquiry and their descendency. But as neurology has medicine, were does media inquiry fit? It is either too broad an answer, stretching from symbols on paper tape to the philosophical and physical world generally. Or it is specialized out of existence. This too the media scientist ought to be at one with knowing. (What of education is not in great part media utility?)

Children as young as two years of age - without fully developed perception - are influenced directly as a result of their individual interaction with human media, even mass media. If there is one thing to drive home here, though, media does not possess certain intellectual descendency with art. Physics, with all of its boundaries issues, has a similar failure ontologically with chemistry (demonstrated by the double bond). A word like, cosmology (a term itself, like media, highly general, highly specific...), tainted as a result. This can be corrosive to inquiry since it is anti-intellectual. Psychology has a more relative infancy to media. Though mass media is a bit older, there is coincidental property to the rise of, more generally electronic, media. 'The lights are always on but nobody's home,' as the expression goes.

Dissertation of scientific paper, what is the medial difference? Sci-fi or Internet encyclopedic entry? Fact and fiction or News And Information? The goal of media learning to divine past sensory experience of sensory interaction. One who happens to be visually blind need not ever hallucinate imagery. It is the nature of media but only in the universe. For even MRI, beit functional or diffuse, it does not matter. It is still just churning out media for the engineer.

Albeit one function in trend, media inquiry might turn to various available media and mass media epistemologically if not for the least to engage with its entertained mass. This intellectual entertainment is the language of inquiry. If one considers the computer media language developed herein, the following might work as operators in the WHILE/AND/OR grammar:
VIDEO -c> program < -- sharing media inquiry over video stream
PRINT -c> program < -- sharing media inquiry over paper tape or sheet
(Culture unfamiliar with a general application of keypad technology, like the English(who tend to stress just keyboard and mouse/touch), may be less familiar with this rudimentary approach. Other cultures, like the Chinese, may be more than just familiar with it. Each operator is intuitively assigned one of several key controls under the user's digits or of rapid (ie easy, ready, and fast) similar hands-free controllers. Highly functional to switching between single control high utility processes. (This has been typically confined, loosely, to ubiquity in the form of Qwerty keyboard Function buttons, or F-keys.))

What about the function of media inquiry to society? Should sharing only be seen as successful given the popularity imbued upon the sharer as a consequence of such interactivity? For shouldn't such a 'expert' not surpass all re: mass media if they truly know mass media better-that-the-best? Who supports the media intellectual critical of multi-billion dollar corporations and multi-nationals? How do we get rid of some of the horrible trite punditry passing as objective media analyst but typically serving sales and marketing on the odd occasion that Media entertains the idea of analysing itself (short of our ombudsman (or worse were accreditation is unreliable)), typically only in response to dramatic event? How does the individual, serving liberty, inform democratic media? How does media inform democracy?
- - - - -

This is my second summary for Perceived Returns Motion bookform. I started it, as the first did not seem like much of a summary either. Suffice to write, the items addressed carry into the work more thoroughly and analytically with emphasis on logical proofs and some prior work in visual art, mass media history (emphasizing the Internet) and form, and scientific revolution. My writing and oral work has generalized over the years on art, society, and technology (see the About Me section).

(Unit Theory combined with Visualization Theorem is a informational technique that creates proof and proof-like logic expression in pictorial form ,typically three dimensional graphics using the Turing complete POV-Ray model rendering software. (This writing has been accompanied with hand drawn geometry.))

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4703182339 Thoughts On Temporal Loss

Estimates vary widely around the globe in temporal photography(TP) cultures over the average loss amongst those populations with habitualized viewing. But a mean of one eighth of total wake time is not unusual. In a total census of perhaps several hundred million TV viewing human beings, the effect is significant. Yet there seems to be no concrete agreement on analysis of what might amount to a quarter of all free time (time exclusive to work and to sleep) has on well-being, mental health, and relative significance to humanity video, movies, and television truly have.

Industrial society maintains a more rigid conformity in which to measure time. Calories accumulated from the country-side deploy the required kinetics from the bodies of the factory workers to effectively produce to industrial scale. When food supply is short, factories will either produce less industrial product or the unequalized metabolic temperament will spell discomfort, malaise, over-all reduced immune function, and death in the work force("inefficiency" in the master-slave lingo of capitalism). There is ulterior mechanism involved here, too, such that as one cannot meet market demand, that disease and death inform the factory in the form of lay-off, sell-off, firings ("let go"), and bankruptcy. The lack of kinetic balance leads in a straight line, over time, to slavery.

Yet again, perception enters the fray. Only this time it is time rather than returns on mechanical photography. Significant is the notion that there is no loss of time during the viewing experience. It's just disposable time anyways. I mean, it's not like you're making an income watching six minute or hour segments, or more, of some video others have put up on screen. So who cares if one's watching something? Add to that cocktail the idealization of education via mass media and a potent storm is created against any hint of doubt. Not only is the viewer enjoying gains of supposed relaxation, but the viewer might actually be learning something in the meantime! A truly ironic reality if true, sometimes under the banner of 'edutainment', since so much of programming is fictional to begin with.

Loss is a tawdry matter to get into in and of itself in the mass conscience. Predicate logic providing apt solution, though. But shortened attention spans which accompany much viewership (the psychological attachment to behavioural systems of state control, social order, or even something as invaluable as public health alert) create a meta-cultural response that guides those essential perceptions. A violent culture produces acquiescent response to stimula of a violent or overtly 'romantic' nature, for example. A theatrical culture, such as here in Canada, produces similar mental attachment to stimuli of a dramatic character, or conversely its comedic yang. It is therefore safe to assume that the nuances of temporal loss will be over-looked for essentially propagandist reasoning. At the very least, industrial states will not be miffed by any lack of interest on the part of its members. (Whether this is actually beneficial, though, a entirely different matter.)

While there exists a very real, though what might best be under the descript of obsession, with desensitization to violence in a violent culture, society, or state, this remains far too dramatic for the Boolean operator measuring the types of loss available temporally that might point one in the true direction of a solution. Considering a more reasonable possibility, nutrition becomes a consideration (our ubiquitous cliche of the couch potato).

Turning to the temporal side now, how significant is the length of time involved during viewing? The answer would benefit from lengthy study, surly. But the two definitions of the minimum-maximum can be expressed. The maximum, for the sake of argument, can be expressed by form. This is key, since long-term viewing - that is linear machine interaction were the individual remains for the most part fixed in the sitting position with head facing forward and mentally alert - is very well understood today, even studied apart from obvious demographic monetization, with respect to home viewing as well as similar physical activities (surfing the Internet, TV channel surfing, that sort of thing). Studies of webpage transfer, for example, indicate a downloader can gain judgement on static content is less than one second of time.

To create this minimum, a bit more difficult, one must define the parameters of transfer. In this way one can envisage a scenario were the viewer receives loss accumulated from a very short clip of temporal photography. Next, this transfer parameter would couple with temporal measurement of mental attachment. Thus a minimum-minimum might result in this: a short clip results in a length of time (an integer) producing the possibility of temporal profit (to PRTP), that is then repeated, to a relative result (a natural number).

min. = (t (P.R.)) x N^2

Speculating on nutrition then, there is less time available for food preparation. While one can create assumption on the kinds of foods viewers then eat, likely prepared for them to one degree or another, the suffering of the more artisanal approach to life is at stake. As one prepares ones own diet oneself less and less, or even null altogether, one removes from the temporal plane the physical reality that accompanies it in place of perceived freedoms which may or many not impact viewing alone. Irony serves perception again as a lower class in many industrial societies is, was, responsible for food preparation. Alongside the institution of marriage this is the woman. Women. "A mother in the kitchen," half the colloquial attributed to female wives of male husbands.

Undramatically too, basic interaction can suffer. With full colour display, accompanying high fidelity sound, the so-called multichannel universe, and higher resolution flatscreen TV has consistently served not only as a replacement for basic interaction in the Modern home - a castle for the individual - but even as a competitor(sic) for other viewing experience, movies for example. Habitual non-interaction therefore reinforced.

PRTP is a experience carried out by individuals acting as part of a mass. A mass potentiality, the mass is well served even at minimal period. Punishment reinforcement, exclusion, occurs at points of interaction. This also develops stereotyping, both further infecting aspects of diverse interaction as well as acting as its own form of reinforcement. This creation of idiom is astonishingly effective. Conversation (yet another victim) presumes viewership without distinction. Without viewership, a sort of perverted identity, really, one is quite simply outcast from the potential mass seeking greater impact and the hair-brained scheming around inclusivity.

Choice is available at any point along a line of mass potentiality. But exclusion is only tolerated. Subclasses may not have equal access, thus less potential, thus have, perhaps likely, less tolerance for obedience. But even here, the illusion of choice, important to many liberal industrialized and semi-industrial TP societies/states, remain. Though the temporal imperative might possess less potentiality toward convenience while enjoying more toward the maxim of slavery.

Logical solution to loss must contend with a much deeper attachment. Predicate societies like those of the Anglosphere laps into the objective of dominance. Choice becomes the problem, the individual a functionary of the mass. Thus even the most privileged require less choice, actually benefiting the state which invariably, its seems, benefit those with over those without. In that case, with true returns. The higher class may not labour in making a meal from scratch but will benefit from artisans doing it for them. Basic interaction, so fundamental to humanity it can negatively impact health via its absence, clearly lessened by the isolation privilege provides those benefits by having yet more privilege and, consequently, increased membership in such Class. Loss is not addressed because it is not preferred. Measuring such a thing beyond reasonable comprehension of the mass potentiality.

Dead ends, though, are available outside of choice even to the temporal maximum. That is because the essence of humanity, individuality, remains acutely non-conforming to any mass potential. Therefore the minimum-maximum begins with time but shifts from form to function. PRTP now steps completely outside one-on-one cause and effect.

Time does not exist. One must dig deeply into the matter of mass media to find its nature. There, one may reject it at any moment. Dependency upon conformity to the large group of people perceptibly out of mind as much as in. The accumulative loss of over a month per year to a self-fulfilling prophecy a simple waste of energy.

Tests have been done in recent years on trained desktop computer users, geeks, and trained athletes that contrast noteworthy differences between body type and action. While geeks, with possibly reduced muscle mass, muscle and joint flexibility, and cardiovascular training, to consider but three, it turns out the athletes did not fair so well either (the rough opposite of the trained geek being the golfer, mostly given the parts of the muscular system utilized). Athletes were generally unable to simply sit statically with limited movement for the two or three hour period a geek might as routine. We tend to lose sight of the fact that sleeping, walking, and sitting require caloric intake. The brain alone can use twenty percent of total caloric count in the human body, surly increased with challenging brain function as with the kind of activity the geek might endure and perform (though that may be overstating the fact). While roughly given a month out of a year worth of time spent watching video, the viewer has the extent of energy loss that puts PRTP within the margins of that which is worthy of scrutiny.

Positive utility for the viewer from engaging in the viewing experience is dependent on factors past those of function alone, from the analytic point of view. An aspect of human character that makes systems like propaganda so effective. Though within margins. Delving deeper into such factors, then, may not mean much. But the fact that there may be effects of a sense of unity, a more critical understanding of objects in motion, emotional connection to others, or knowledge transfer spring to mind. Each with '(?)' next to them - a maybe, dependent on specific circumstance.

Evidential function seems a pretty clear positive use for optical-nerve-term TP (temporal photography). While it is positive were informing judgement is concerned. though, it is not a true, complete statement of order. Again, I think, one can loosely re-apply Planck's Law (for a 'physical axiom', as utilitarian mental experiment) with the statement:
J = ( |E| / W ) - (E^R)
Point of order: Judgement is naturally the subtraction of the logarithm of Reproducibility to Evidence from the absolute value of Evidence over Wrongdoing. Judgement thus being a action on the physical axiom. So that while it is humour, in the literal sense, to issue judgement from a over-whelming amount of evidence with little Wrongdoing the reverse shows us the intense demands of the evidential upon all Judgement. Guilt of a crime, for example, is relative to how much one can effectively prove it. Of course, that is strictly within the domain of the physical axiom, Judgement a subcategory of reason. Reason, of intellect, and so on. Restrictive use of TP creates the conditions with which fraud can occur to the evidential, to a True result produced from the physical axiom.

Searching for temporal and energy loss in the physical axiom of optical-nerve-period illusion incorporates evidence outside the physical axiom. Since the temporal is a subset of the physical, one can develop reason here along the lines of bringing more balance into any discourse on the matter of perceived returns (PR).

Well, such a bold statement, that time is a physical subset, ought to be neither dismissed nor considered controversial. This illusion is all about temporality. Perhaps too a narrow philosophical position, okay. Not so with the fixed mental acuity of PR. Less evidence of acuity decreases the overall value in judgement. Questions arise when negative evidence exceed reasonable judgement. Mass media has had and continues to have a persistent claim as to the usefulness of its own existence. Moving pictures mediums are no different. Since the evidential demand hinges on Reproducibility, fabrication for instance (physically axiomatic), acuity gravitates toward measuring Wrongdoing, were deeper, intangible consideration focused on the cause and effect of viewership. In short there is not much to consider in the reproducibility of video exhibition of events, calibrated with simulation (itself a spectacle). Watching events while trivial is tied emotionally to Wrongdoing here. The greater the Wrongdoing the greater the demand on Judgement. Affecting emotion whether of the mass or not, considerable. Changing behaviour, adjusting habit,... all the sort of stuff found in marketing and advertisement - even writing script for fiction story - carry this consideration of Wrongdoing. And Evidence would seem to match with temporal cues. But none of these, not even mass potentiality, are highly conclusive to profound mass temporal loss on the psyche of individuals. The energy axiom produced from the implication of the physical axiom suggests the matter is persistent to deeper reasoning. Motive, cause and effect, and Wrongdoing all exist, however one describes observation.

One camp asserts TP essential. Other masses see it as medium for mythos or other transfer. Some lacking access remain ambivalent, or not. (Something more of interest to the previous section outlining Perceived Returns Motion.) TP may be related to social strata or agency. And people do have a funny habit of material attachment. The fact that the sensory experience is a vacuous on to humanity, somewhat a triviality, means we must look deeper if we are to understand why people are so attached to it. Some may even fashion a sacredness to it. But that is why we have philosophy: to study just these sorts of predicaments. Logic is what one can turn to once that is exhausted in lieu of solutions to concrete emerging issues, like temporal loss. Energy loss, though, is highly non-trivial. Just think of all of that decreased productivity, or especially of life in general. The illusion of gains the greater source of causality.

Linear time measure suggests several years of life are devoted to TP over the course of a lifetime in a TP-society. Under rule non-TP society must lose out on the benefit of transfer. That rule, as observable today with masses globally, when digitization is scaled past perfectly reasonable equivalent analog technology. There is a old rule of thumb out of applied computer science: any field were computers enter are eventually dominated by them through-out that field. It started with science and mathematics in the mid-20th century. That progressed into the arts and music with the advent of the microcomputer and the Internet, followed eventually by the workplace and what remains of the civilized world outside of those presently more marginal fields (a general topic of interest for this writer. While fields are dominated, and they truly are, that does not mean people fully comprehend the changes to their pursuit. So if a biologist requires more and more use of computing over the course of their career, it is commonly understood that there is not the accompanying reflex in the other direction, for instance, writing software for biological scientific work. It is one of the reasons behind the creation of the Web and, by extension of the intention of, at least some, of its designers, the Internet itself. It does not even seem prevalent that those who do in fact write software, certainly not a rule amongst software vendors (quite possibly one of the least reported topics of this time in history, given the sheer prevalence of 'information technology') know the implications of what they are doing. One is left with the assumption that it best be left to history, hardly a comforting thought.). Examples of the last, wider masses include Internet of Things(IoT) and Machine to Machine(M2M), quite a trendy topic, at least, ATM, I suppose. As PRTP interferes with the potential for the individual to attain individuality the mass must suffer to some extent or another. The idea that the thousands of hours of video created daily today on the corporate Internet along with varied philosophical differences, again, may have no individual meaning. Truly the hallmark of addictive inhibition. Also true of the nature of temporal loss.

Physical axiom here reduces to three states: rest (neutral), energy (work), & mental (positive). Too much of the latter and one is negatively impacted by a morality found in the mass (of people). The viewer has a energy state with the following duplicity: mental atrophy whose principle inhibition, expressing the accuracy of physical axiom, found in misperception, and the gravitational pull towards the rest state. Therefore the action of viewing is an individual will to accept the perception that returns, on the viewing experience itself, are in fact real and present, since the energy state is eventually eliminated. Viewing is a mental rest state. It is reactive into excitatory inhibition, unless exclusively in a neutral state whereby viewing becomes merely responsive to Judgement. To continue inhibition is to turn it against the neutral state. There is a strong tendency here for mass potentiality to favour non-optic-nerve-term experience, tempered by program. PRTP is a human cage. Rattling the walls or escaping a vice, because PRTP is a definable behavioural adjustment aligned unnaturally to the person involved. This would adjust in the anatural environment, possibly returning a neutral state or energy state. Either way, any persistent viewing continuum ends with the 'gravity' pursuant to energy loss during inhibited mental state (mental atrophy).

Programming hints at the deeper, underlying state, but is in most likelihood secondary, even irrelevant. It is a function of the physical axiom and so drive inquiry back to the afore mentioned unnatural mental state and environmental mass potentiality. If program is the hint, the excitatory state is the culprit. Intuition can grasp this. Understandably, if one is at rest, one knows at some point a energy state emerges. It would appear that the excitation state is reason why temporal loss is experienced by members of a TP (temporal photography) mass.

Normalization of industrial TP-mass accompanies technological mass scaling. Computers on top of fully deployed media hardware through-out civilizations increase the impact minimum energy loss has with absolute enormity. The pervasiveness of computation in that hardware not withstanding. Not that in consideration of any computational authority, for lack of a better phrase, either. One arrives at a temporal flux, quite impossible otherwise (made up for through saturation (ubiquitous over-stimulation along linear minimum-maximum)). As people are not induced to viewership but volunteer mass association, limiting freedom by virtue of facts drawn out here.). The all too common stand-by stock segment of a highly incidental sequence of the TV cartoon, repeated over and over in the episode and then carried into episode after episode after episode now out the window. This and other such design food for the fodder of retrograde TP society, not the TP mass, or, emerging TP civilization (global TP). Requirements of the physical axiom quite a bit more nuanced. For example, any PRTP wearables.

Mental state axiom all but left behind, the metaphorical video game spaceship projects headlong into the high-energy state. Who gives a fucking shit. The motives were to use the excitatory state with mental axiom to issue state control via PRTP viewership. That is not gone anywhere. Is it important that we have a "Generational" point of view? Obviously not, but for the sake of robust argument, let's look anyway.

Mass potentiality is the beating, bleeding heart of temporal loss. All of the program in the world cannot rescue the motive of mass control without this essential induction were industrial mass is concerned. This industrial zone on technological computer a modus countless corporate, including non-media, entities (which are varied in size and scope, but numerous and ever increasing along both fronts) well-equipped to take advantage of the populations within the masses that they serve. A state apparatchik, its ultimate master, industrial base, has no opponent. Like a king's patent, this unaccountable tyranny need no dominion over Resources for it has the republic of the mass mind. Both divisive and derivative, owing to its corrupt behaviour towards the arts, monoculture is engendered as 'security' (though against what is unclear). Failure, mediocrity, plainly observable. All bets, as they say, are hedged on... computerization. Global mass falls under all out excitatorial, myopic sense of justice.

Nihilism is a simple psychologism. Individualism no apex of intelligence. Race control uses recursion in the axiomatic process of the physical axiom, global mass long since under the heel of industrial weaponry and global holocaust waiting in the wings. Virility of the control system one utility among others at the pleasure of racial mass and the traditional growth in the sector on populations outside of the nuclear umbrella. Economy might remain as another. Individuals are weighed, measured, monitored, surveilled, lead, and bought-out.

It was not so a conspiratorial vice against artists when Europe developed its mass media. Art grew institutionally only out of a schism in the West, the name attributed to a major section of the European establishment (implying it represents all of that Civilization). Religion always desperate to control mass media fumbled its way through history after that, enjoying over a millennium of authoritarian rule over the Continent full of all of its characteristic peninsulas, rivers, and rocky ranges. And its cold winters in central and northern latitudes. But moral authority, which the Church very much had, was not ripped apart by mass media. Like anything else, it adapted, becoming the State we endure today. No more a parallel to race control than the development of paper, axiomatic to mass media, generated from peoples of the Eurasian Pacific coast and its historic multi-millennial Emperor.

Turning to the non-industrial race, the industrial base serves technology. Although that may reduce to computers, it is somewhat of a controversy, it seems, once once realizes it need not be so that the nature of the computer may be altered. This should not surprisingly be pushed into the modus operandi of the West's frankly institutional perversion of philosophy (realizing that it is the fundamental divide between peoples, even though quite trivially so). Computation is mechanical to be sure. And machine boxes are one significant model. Cellular mechanics of lifeform another (eukaryotic ribosome). Civilization adapts to computing through science and art, followed by the remainder classes of citizenry. Race control relies on a function of all three, of recursive innumerability and axiom non-derivative of mathematical physics serving a singular cosmos. Again, not a matter for philosophy were it is very concretely justified that there is no race, only mass. Humanity faces solutions as a whole. That is why technology has taken its centre stage position over and above that of industry alone and the physical axiom.

Reducing cosmology to philosophy, perverted or religious or not, or art to mass media. Each produces the same resultant division. Violence emblematic of such a state. The race exists as much on land, the locus of states, philosophies (arguably), and most to all justified reasoning over the course of a couple hundred millennia, as continents, just as its does in climate zones that stretch out over all of the non-terrestrial regions of the surface of the Earth too or as with latitude. We could divide along lines of weather or magnetic field, Earth's polarization. Or we could act as a race. Choice may not wind up being as abundant here as the presence of non-inhibitive means. If there is deeper explanation for temporal loss from PRTP it is in hacking out a inhibitive core from basic freedoms. There is, it seems, no monopoly on control of the entire race.

- - - - -

Were We're Going

Video has proven to be a scatological process with recent, emerging digital technology. Expectations tend to exceed results, a consequence of habit on the part of institutions. "Wars" are fought this way, leadership races won or lost. It dovetails nicely, hand in glove, with the nagging drumbeat of conservative politics emitted hourly by the Establishment in the direction of mobiles. Especially its Fourth Estate. And as those grand expectations subside and masses return to their economy, the presence of the moving picture in the frame of sight for each citizen becomes paramount. Webpage video ads virtually mandated across the board of the Commercial Domain. Development of video software, codecs, subdued by the less-than-permissive hyper-surveillance environment of this mobile landscape precludes any fooling around in lieu of that design neccessitude of cyclical ebb and flow of user interest.

Not that interest wanes. But stuck in the industrial mental program of stockpile assumably has far but over-looked the seeming triviality of quintessential viral video. A dance between the power of traditional advertisement profit scheme and the more pwerful voice of the propaganda model. But folks just are not defined that way anymore. SMS(Short Message Service) and photosharing is engrossing. Video more a energy consuming nuisance. The situation intolerable. A 1080p replaced by something more reasonable, like six-feet tall. Eye candy - beautiful, scantly clad, half-fed old girls; stunt action; hi-colour; high detail; camera technique; or any other plethora of craft - all shifts now to a new box, a different presentation entirely. In short, the target audience is bored straight. And they aren't always a sitting mass now, either. A historical first (even 'drive-in' theatre sport reclined passivity as the norm). So programming must adjust accordingly, one thing not too hard to do.

Texting must expand into multimedia as video camouflages itself inside the photoshare. Oh, if only a central director of propaganda for the empire could dictate the daily viral video. At very best, a pipe dream. At worst, a threat to 'speech' and a modus for censorship. The property of the excitatory state in context is of a sexual nature. Thus, sex(sic) is the design of the mobile. Ultra-sized display (video billboard; video 'poster'; digitalSignage; fourth screen), effect. Gone are the days of regulating the well-established means of self-cednsorship, perhaps dating back to the invention of the fiction novel, as with Shikibu. No more fantasy in the evermore conservatized liberal government of the American realm of burning erotica alongside culling of the disabled, ground zero for every post-Renaissance regime, today found in the neologism (because every breath out of our lungs must be so anti-Ancient ("traditional")) of Free Speech (which both speech-for-some, even most (imperceptibly, were mass media is concerned, to very considerable discipline (it is the State)) and megatonnes of speech-for-the-few. TV programming, as with the music industry, incidentally - cultural truism - still cycles through the same, tired group of content packages over and over and over and over and over and over... a general dictate). Video hardware has been weaponized against competing platforms as even industrial moving pictures must contend with over-dominant drumbeat accompanying computerization.

We are past that, really. I recall the over-whelming draw to write during the famous Ministerial Meetings, so-called G7, the G7+1 (Russia), then G8, which over-saw the collapse of the Anglo-American economy under the harsh heel (particularly, though hardly exclusive, to Black families) of the Great Recession - not so harsh for many, rewarding for the few - and the complete deregulation of unaccountable financial tyranny and the so-called Wall Street investment firm (though more a insulator to the conspicuously absent from public view conductors of oligarchical power). Digitization really meant getting rid of analog TV sets. The motion picture stream, uninterrupted. For what could chase away the blues more than viral video of waterskiing squirrels. Heroic actors playing superheroes (amidst a comicbook industry brought to its knees several decades ago, by censorship, is yet to be out of the red even while there is always at least one of its superheroes dressed in tights on the post-Vaudevillian motion screens?) I notice today even the movie usurp, re graphic novels, appears in permanent television programming cycle.

Hands-free input and wearable computing, hearkening back to Claude Shannon's (Thorpe) oddly seminal work in the field, makes space for the video ecosystem. Aligned with what the Internet's lead propagandist referred to as "Interplanetary" (not strictly PRTP orientated, technicians atypically uniform around the sci-fi aficionado). Indubitably, the earliest possible billboards in the upper atmosphere and outer space will have motion animation content. The conqueror, prepared. Closed service BIOS-type core artificial intelligence on guided robotics will have the video agenda at its superrealistic stereolithographic heart. Androids acting out pivotal scenes from Feature Video Presentation the popcorn-induced neo-juggling act parlour trick du jour. The shaving man watching porn emitted from his contacts. 'Five Kilotonne Transport Blimp Near Collision With Air Antarctica Space Rocket Blamed On Pilot Video Distraction' reads the news crawl headline across the handle of your spatula as you flip your partial GMO meat hamburger, now colloquially a 'meatburger'. "People watch too much video," suddenly exclaims someone nearby who, reading their e-paper, surreptitiously minimizes the video player running a private message stream in the background. The Latin letters of the Blimp headline descending from a time when 'actors' and 'actresses' of theatre media were instead Aramaic or Greek glyphs across papyrus were the authoritative system of propaganda. 4803261059 Individuality expresses itself through family, nation, empire, and slavery around the globe. Written, preserved concrete language, like software development, a achievement. (Not a given right.) A prophet just someone who knew this and was possibly blessed with literacy. Again, not great and good but possessing privilege and responsibility. Preservation of culture remains a direct threat to the underlying depraved barbarity and weakness of leadership. Today, financial interest helps ensure the goal of taking, or more importantly keeping from, any savings amongst the working class and, dishearteningly, working poor. Then, the slave was met with bronzium or iron, occasionally tempered to a maxim of strength.

Anthropological age is identified from individuals zeroth thru axiomatic fabrication, giving rise to civilization. Reductionist analysis defines this as a progression that has mutations between distinct human beings. Firstly, a toss-up between the hand of forward motion and on the other hand regressive simultaneity of power. As fabrication draws people in one direction, this fork in the road is a matter of perception. It might not exist at all. In all likelihood it never did. This push-or-regress can be the only alternative to fabrication for many people, for many civilians. And what is so wrong about that? One cannot only be good if one is dawning the appearance of devotion if only for the sake of appearances. If a slave doesn't look like a slave, the master has no care. Humanity shall transpire through the individual. It is the nature of our animal and intellectual self. No universe for humanity, as with, say, cosmology (more precisely whatever we might agree that is at this particular point in time in this particular dimension). Master or prophet, both expert in resistance.

Rescue from the perceived plight of the individual the narrative of the myth of mass media. The myth of mass media is a false myth. Speculation as to why central to argument. Reasoning, understood. Some strongly asserted that language had different idiomatic inflection requiring eternal study. Others looked elsewhere to assert philosophy of science. Mind control rests with certain pragmatism. Liberal and capitalist response to industry cannot preclude fabrication. Nation and slave cannot well preclude broad scaled use of metal substance. The nakedness of the myth of mass media for all to see once one steps outside the factory door.

Technological individuality affirmed in fabrication contends with progress and power. Source material will dry up, industry become regressive. Anything goes once the commoner is brought into the vice of computing along the progressive line... The replacement of video with the moving picture environmental ecosystem rather itself replaced by new, different myth. Sexuality undoubtedly not its target, so forget the excitatory state for any imminent answers.

A clearing house for design or computer model sharing seems like a good idea. 4803271341 Something enhanced by a Internet fully adopting three dimensional graphical user interface. Given that the third revolution in computing resides outside of data processing models in central processing and accessible memory with the Input/Output(I/O) model perhaps best represented by '3D print' (stereo-lithography (literally "stone" (the 'dot-com revolution' collapsing as the economic bubble precursor to the mortgage centred Great Recession, mentioned earlier, when seemingly countless IPO's lacked that certain 'brick-and-mortar'))), a term likely found from the Pentagon funded Wintel 'computer for every desktop' plan in Silicon Valley. Maybe it is a physical cosmology (digital physics). Doubtful. Therefore computation itself is defined by this process of networked model-share and material process, global meeting local.

Whether the returns on temporal photography are perceived or not history will certainly be the judge. But as the culture of the West during the period of television mass media predominated a theatrical one so too one may be observant of a periodic identity there (in TP). What is more convenient than the simple upgrade of the stage actor to one of film method? As original script and plot may wax and wane, old films are made new again in the theatrical, re non-motion picture, tradition. Theatre being a practice, film a medium. The film spin-off of the theatrical film itself a adaptation. For if one carves two sculptures are they not distinct? Is repetition of form not iconographical; unoriginal? It may seem a subtle difference. But were art and media is concerned it is foundational. If I repeat a famous painting, is that truly 'great'? Also, is it even ever so (a daunting question once one considers how much art we produce as creatures, understood well, though, in context)? Actors are only as good as the parts that they play. Emoting before lights and camera restitutes with itself as politician over artist, although certainly there is always room for craft to be informed by the visual arts. Remembering that politicians, craftsman, and actors are given consideration, however limited, in the profession system, the artist is not. This makes the power that the actor has over the so-called art world (which is a different world entire than this) second only to the Artist professional that is the writer and author, poet. It deserves repeating that for over the first two thousand years of Western Civilization the only individual anointed with the respect of the title, artist, was exclusively granted to the poet. Again, too, not an artist at all. Even the Christ, while a lead subject for European artist, well into the post-Renaissance era, had no overt respect for art, his domain philosophy. What art would he have seen over the course of his life? Surly some, since he was exposed to Roman culture. That is to not address the individuals in the four thousand year line of succession preceding him, either, were there is no mention of the art that was certainly present in humanity then and much, much earlier. One must digress from this real critique of the West. Except to state temporal photography and its perceived returns align with a stark legacy that should best be unwelcome to humanity if not merely criticized and scrutinized to no end.

Consideration of mass delineation away from the significant temporal losses easily fall into scope. Two paths present themselves, though lacking any clear, emerging fork in the road. One, directed at PRTP, the other indirectly at remainder mass media (print, recording, radio, Internet, & mobile). Another approach would be to examine those waned mediums, avoiding unneeded contrast with medium of media under significant consumption. FM radio springs to mind as the most proliferated mass media, for a significant period, overtaken by mobile about just under a decade hither this writing. (Note I am avoiding here the early half historical period up to until the Nineteenth Century, exclusive to print) 4803291254 Traditional form approach to mass media is soon met with a exodus approach.

Table 0 - Mass Media Forms

Order  Period PRTP P/I
Print      0   -   P 

Record     1   0   P 
Film       1   1   P 
Radio      1  nul  P 
Television 1   1   P 
Internet   1   0   I 
Mobile     1   0   I 

(Perceived Returns Temporal Photography; Passive/Interactive)

Yet both are subterranean to the wider media ecosphere, partly served by contrasting structures of power also in competition. Competition is a completely wrongheaded pursuit for humanity. Its dialectic, exclusion, serves only domination. Study, skill, craftsmanship - simple fantasy whose only relevancy is optimal utility rather than basic function. Once conforming, the only function to competitive practice is competition itself. Silly affairs, consequential to temporal loss.

Today's mass media is only as good as how much better it is (better that prior mass media, as the alogic goes...). Which means we need new form to win the title match, the battle of the masters of the universe (actual reference used in punditry (including tech journo's) when the Internet in boon - its supposed luminaries (later exposed as something more trivial/opportunistic that that (take any of the ones at the very 'top' of public standing (which is reason displayed in mass media incidentally)))). The World War radio generation; the American (half-) Century television generation; the computerized Millennial generation... the myth of mass media a human cage. Trapped by ownership pulling its strings. Cutting ties means delineation from future temporality. I grew up outside the Internet (though both born at the same time (-: ). So it came on strongly and swiftly, gaining rank as mass media form two decades later. By abandoning television, print, and such, it served to define me thru my peers or our generation winning the keys to the cities. Then, more alogic, we (the mythical generational faux community) could demonstrate responsible holding. The new form came to fruition almost immediately. Virtually within months we moved from Internet declared mass media to a US Federal Reserve guided financial-bubble economic crash (hedged securities based on the 'insurance' of a few creative mathematicians), and the emergence of mobile and, not so trivially as was greatly assumed across the mass media punditocracy (especially out of USA) of the invention of the smartphone, all occurring inside of the 1990's). One begs to wonder whether there really is enough integrity for a mass to exist thru media form irrespective of myth - or in spite of it -- or because of it. Extranational, or just internationalized ethnicity? Placing 'mass media' ranking somewhere between clan and nation. With some seven billion six hundred million humans ATM, why not? What nation exists in absentia of mythos? One can look to nationhood as apt guide into a myth found in the race, recursive innumerability (computer media), androids, stereolithography (computation), aphysical cosmology, asymbolic logic, that sort of shit. Mass media ,a bit over-simplified, the story of the peak of German Enlightenment Civilization, coming out of the Thirty Years War, its demise and eventual ruin under its American brethren, Puritanically inspired and driven to extremes.

Futures depends on whose present one is referring to. As with Jewish intellectualism, German outstanding mechanical superiority not surprisingly continues contributing to humanity. No myth at all, but parts of the whole race. A invitation for each individual to contribute to the whole through their greater self, served by limits of basic animal intellect. Not a great deal about how many movies one sees.

- - - - -

Media & Race

What emerges from contemporary comprehension of misunderstanding as to the fundamental nature of language - even in the spirit of inquiry - humanity must re-examine the primacy of our actions that have arisen through much of history from it. A phrase, 'history is written by the conqueror,' not so appetizing for humanity's tastes whence in consideration of communication while satisfying axiomatic associative language. History humanities confined to historiography, also with a similar satisfying measure.

Inquiry itself is a intriguing analogue to the fundamentals of human language. Inquiry is the primacy for all science, criminal investigation, journalism, and hacking. So too rests transfer in all of communication. Much more than the why or how of communication, language is the absence that is being proven to exist associative to form. Why limit humanity to language alone? Unless of course one wishes to degrade intellect to a inhibited reasoning. The primary candidate for transfer, music, pointing away from language and to a transfer that is completely fluid. This as transfer may better well rest. It is not the best music can be but its very essence. What is to best transfer is what exchange of bodily fluid is to procreation.

Writing off language does not equate with similar thought, re: mass media. But what the fuck makes media so gawdamn central? What of interspecies transfer? The non-physical computation of emotion at the heart of inquiry? The necessity of transfer to the race and the obsession on the part of leadership tyranny towards association are disproportionate with human individuality. It seems too much of interspecies association obsesses over the transfer of culling on the side of surplus over-production and on the other side 'sport' and extermination. The solution begins here with one first looking past music to other transfer, such as in the physical dimension with innate protein fabrication. A kind of tooling of the body, hopefully with base survival as primacy and not mutagenic function or cellular destruction characteristic of inbreeding, some diseases, like cancer, or with certain environment factors. One could state a primacy of survival function, generational transfer of successful multicellular design. More than just replication, as with mitosis. Here the perception of threat, unlike with media, carries potential mortal consequence. So how might this relate to mass media critique? And then how does that relate more widely to race?

Chart 0 - Human Transfer

Knowledge     | Language        Art
Intelligence  | Protein Enzyme  Procreation
Communication | Immunity        Music
Science       | Chemical        Physical

As we obsess on environmental destruction, physical annihilation, absolute power, and paranoid levels of corruption,480331 humanity makes its headlong advance into the mysteries of inhibited axiomatization of means. Descending from the mathematical logic behind quantum physics, itself emanating out of polynomial lifestyle of, primarily, industrial centres of enlightened scientists, one can easily miss the boat and be stuck in the port of traditional means. As one gets more and more clinical in dealing with the facts one is equally removed from reality. In a glib way, one might state a clinical reality. But as other means persist and ways and means combine, solving every problem with a polynomial expression leaves us. The glib resort to less and less recursion. It is from repetitive activity we find the difficulties for which solutions are sought. The toolmaker is now the machinist. The sure thing replaced with measuring probabilities, exponentiality with computation. Yet astronomy and gymnastics still exist as fully functioning fields of study. The sabre is just a mushroom cloud, now. The power of using trade as a vehicle for supremacy replaced with the moral and ethical poverty one might find, if one has the time, to consider the metaphorical pun found in the market term, oil futures speculation. Media becomes fabrication.

- - - - -

4804072213 Some Proofs

Single Period Mass Media Function

see PNG file: 0th E-T curve



f ((t (PR)) / i)
f(t base-a (e) / i)

- amount of engagement over time per interaction
- interaction of time lacking engagement

Temporal loss - accumulated engagement over a period(t)

see PNG file: 1st E-T curve; 0th summation


Defining Perceived Returns
i=(xy) - (xy) , [(xy)+(-xy)] *interaction is a reciprocal of work energy

see PNG file: 1st summation

-PR a disorder of sensory diagnostics
-non-perceived gain (NPG) - productivity index, net cognitive

see PNG file:2nd summation
- - as a remainder of single period mass media funtion
- - representative of gain on mass media interaction exclusive to engagement

see PNG file:3rd summation


Multi-Period Engagement
n(-xy)t OR see PNG file:4th summation
-n(-xy)t [n(xy)t] OR see PNG file:5th summation


Combinational Engagement (Mass Media)
see PNG file:6th summation

z= number of sources
S=end of combinational engagement

-a function of human senses
-highly, possibly strongly, subjective


Net Cognitive Engagement Theory
-transient neuro-interactivity t((XiYi)-(XeYe))
Xe=relative neurological mass
netIE(0) sensory return (gain is assumed (sensory diagnostic))
netIE(1) neurological return

* return from input(I) is not required to produce [net IE=1]. Cognition is a requirement, E a product of I but could be generated independently:

{I} < {E(r)} were E(r)=netIE(1)

E(r), lacking something like NPG, essentially halluncination, the set for the decision set produced from the transient set, the additional return factor (r) added to E, which is deduced from I.

While input(I) is axiomatic, and exclusive to sensory sourcing, it (xy) is non-axiomatic. Therefore input(I) could be any source producing neurological return (again, gain (base cognition) is assumed).

(r) produces a FALSE result until there is cognitive gain. E(r)gain is managed outside of I, even applied to it.

Mass media rests best in a zone between physics and neurology, neither completely electromagnetic (I) or meta-chemical (E(r)) respectively. Dissimilarly, mass media is a subset of sensory interaction.

Maximum E(r)gain and Ultra-r

It is important to reiterate that Engagement is non-universal. That is, sensory input to the brain may not require the process of Engagement to exhibit implied Returns. As I have attempted to thoroughly express earlier, the Engagement of Perceived Returns, essentially energy and chemical, is tied to the implied mass (of people), amplified by reward. Intellectual requirement would seem minimal. After energy, and for the time being, physical, has been transferred to the brain of the viewer either the path ends with Engagement (returns) or continues on to Ultra-returns. Cognitive gain is more likely than not to be present (I). Repetition of output plays a vital role, past any habitual function or response. This suggests a physical role for the cognitive gain, even when it is created through repeated messaging (as distinct from transfer). E(r) becomes a mental return, Ultra-r one with a physical response on the part of the viewer. Though undoubtedly a dispassionate one, Ultra-r can be strictly neurological (lacking axonical usage). Thus programming is stressed over repetition. E(r) more economical - with all the misgivings of possibly being useless without repetition.

E(r)==xy-> -xy AND I,E(r),Ultra-r
WHILE Ultra-r = r^3

Programming Cognitive Gain

I, E(r), Ultra-r, f(r)
- - - - - - - - - - - - - -
0,  0,      0,     nul
1,  0,      0,      0
1,  1,      0, cognitive
1,  1,      0, intellectual
0,  0,      0,    memory

Such programming is heavily influenced by the mechanics of interaction. More critically, though, a priori differentiation between direct and induced gain carrier electrical potentiality. Yet again, because the pretence of interaction is false to begin with, one cae, I think, rightfully view the potentiality as trivial here. Stunning as the implication to memory is.
E(r) would be immediately isolated to the occipital lobe for processing, conditions of base frequency for I being met (typically approximating to about half the maxim for the illusion to take effect, given variability in mechanics, design, and presentation - not to mention those on the wide of the viewer's body (ocular degeneration, condition of the retinae or optic nerves, colourblindness, visual acuity, attention span, and so on) - to any greater degree of stimulation, (c). That is because simply watching TP produces NPG potentiality, as could be quite characteristic of Ultra-b. (c), then, dissimilar to engagement [E(r)] is the in vivo representation of the accelerated stimulus of PR itself. In respect, (c) is the nature of PR. Source(b) up to this point might typically be another person. This commonality on the part of the viewer a useful shorthand to the one already present in the form of the Mass. Just think of (b) as the knowledge that someone other than the viewer is 'with' the viewer during the viewing experience (a fact to be certain, but a fact open to pretty wide interpretation in measure). It represents the spatial loss to PRM/PRTP, a serious development.

| c | = | a | + | b |

Table 1 Phase Diagnostics
  xy  z
- - - -
I  1  0
E -1  0
a -1  0
b  1  1
c  0 -1

(c) is the pretense exclusive to mass media generating habitual temporal loss. Itself dually generated through human interactivity, the sourcing of that standardization can be monitored and further generate social order. The myth of mass media descends into the language of mass media, were verbal utterances of programming affirms order to the artificial ecosystem. irony is not completely lost on the fact that language already provides this instrument for society. Obsessing on it a clear sign that society may be overly obsessed with control. More importantly, this language of mass media appears to mask the ulterior ambition over obsession with controlling art.

Expanding On (xy)

(xy) references the arry of alternate colour vectors(v) within a resolution rule. V^2 would be its coding data, (xy) the array planes, (v) the data sequence. Transfer means that (v)Hz is represented as (-v)Hz bio-optically. There are modes of standardization here that do not constitute a minimum for the purposes of empirical examination, just as the popular modes of pixel resolution today attempt, and fail at, standardization for TP-content (this over time, since standardization to wit is completely required for digital-TP to exist). This is a system of social order outside of the scope of PRM matters, for industrial motives are more profit-driven than scientific or strictly mathematical. It may indeed be shocking for vieweres habitualized to (c) to comprehend the over-riding significance of a minimum(xy).

One begins with the mosaic, proceeds to filtration, and then rests with transmission. Compression is also significant to producing a calculatable minimum(xy) since (v)Hz and (xy) are discrete. TP could be described as xyV for a active array. Two minimal values, one for energy and one for space, should produce a minimum {xyV}.

x y V
0 0 0 nul
1 0 0 nul
1 1 0 nul
0 0 1 nul
1 1 1 TP

One technique is linear along the v-sequence. The kilopixel producing x=31 for the square array. x=181 is a useful approach in a minimum maximum serving as numeric array (below the desired array) along the following:
[(2^|2|2|2|2|)(2^|2|2|2|2|)] [(2^|2|2|2|2|)(2^|2|2|2|)]
Uncertainty around the stereo-field of prospective array tends to favour x>y, resulting in the some primes x=181 & y=(2 x 81), not too dissimilar from the A4-standard in industrial paper production (as opposed to, say, letter-box ratio). The 162p would read 1;0.8950276 (1.1172839:1). Note here, the monofield, which could accommodate the handy perfect-square array.

While a (181.162) might seem comparatively large to the kilopixel array, applying (v)Hz makes it far closer to a better minimum(xyV). As with a unary filter dimension applied, novel until utilizing digital technology were it is somewhat trivial but providing of a pronounced minimum - a sort of 'xyV economy'.

- - - - -

Speech and TP

Speech is observably axiomatic in the child. 480412 Control of it seems a axiomatic expression of so-called 'adulthood'. For millenniums in the West it might have been called, god. Today we might instead pat ourselves on the back for knowing better with disproven interpretations of reality and the faux wonderment of destructive mechanics. But it's the same thing! Someone finds an imbalance to the settling of physical matter, the over-balancing of energy magnitude, the wonderment of discrete mechanics (wonderment, not discreteness) and that individual must be Silenced.

Restoring thie intelligent imbalance to mass media can be a daunting task for a oft obsessive, infantile society (by definition a large one, wonderfully). Non-criminal loss of law and order a medicine (consider five thousand television viewing hours per annum of programming dedicated to state intelligence and policing theme, one hour from US and one from US or UK). Some things come and go, some stay the same.

Then what is truly axiomatic is the inability to perceive intent. Some neither internalize nor externalize it. Antagonist is the viewpoint of power. I fear trust because of my issues and therefore must know the unknowable about you - like consulting oracles. How does risky reasoning fair against intelligence? Not a question anyone wants to ask.

Power is a lot like mass media, as one might suspect. What greater TP exists than that of the most powerful? Although it might be noted here that such idiom is cordoned off to habitual loss pathology, such individuals routinely of preposterous degrees of mediocre humanity. Funny, though not funny at all, telling, then, how silencing goes to the strongest voice.

Energy is sacrificed to keep the individual(s) from speaking and writing or creating, against universal law. It bares a striking similarity to ultra-b.

- - - - -


What sets the ultra-r apart from engagement-r, its distinction, is the reliance upon resilient temporal loss to TP. Any prevalence of ultra-r occurs as individuals interact and share it. Trivialities must not be ignored as is the product of unsound reasoning. So one must become the observer of ultra-r. This with a stressing away from the kind of reward written about earlier.

Naturally, we seek justification for loss. There is no reason to assume that is not the case here. Finding purpose for ultra-r is what in addiction research and treatment is sometimes referred to as a enabler. Myth of mass media not being found in expression or presentation or the like, returns one employed by objectivity. While this seems on the up-and-up, the truth is it does not require a great deal of cognitive gain. A little goes a long way, an understatement when measuring ultra-return through the (b)-variable. One accumulates a great deal of memory from periods of interaction with imagery. Relating that to other seems almost natural. Our interactions sharing memory of imagery is the story of our mythological media. Put another way, our myth is our smartphone or Internet or television, our story is our socializing around it - like warming together in a circle around the fire on a cold night. The question that this raises is whether the fire is spewing out more toxic smoke than it is worth to accept. So observations best characterize this story as effect, not success, since there is no pretext to sharing in story apart from producing more of it and in turn serve the greater myth. People always find myth in things like story. And people will find toxicity in mass media.

Uniquely, image is produced from ultrareturn. Produced, not created outrightly. Mental projection of media interaction is not imaginary. If anything, media is the manipulation of the creative process on the level of replacement of imagination. This is not as far-fetched as it might seem on first blush. There is overwhelming of the psyche in a direction away from free will when producing release, stimulating pleasure centres, and engaging with endorphins or with dopamine and serotonin. The expanse of the mind seems limitless. Truly infinite or not, value is frankly assigned to animal traits over simple materialistic ones. One prefers others because of the tangibility of redeeming effect that can result. Human potential practically dictates it. So the system of media depends foremost on an active, mutating ultrareturn. Function is reduced the moment the myth is broken. The scope of which much wider than any social movement. Returns on media suddenly seem petty when compared to actions of people in the absense of material demand taxing physical interaction that plague imagining anything past the program. When one finds that the frustration one has brought to media interaction does not subside, it is compelling to ask why one doesn't just turn off. What does emerge will be tools of dialog steering interest to appropriate interactivity and limits. For with something like ultrareturns there is no turning off.

Any kind of social interaction, movements just one extreme example, can be effective against it. So can humour and culture. These can also produce toxic affect when there is carelessness, easily kept in check with individuality. One can return to favourable patterns of existence in tradition, ancestry, education, and culture not only as alternative to media transference but for real answer as to how to combat ultrareturn from the world of experience. Preserving the past could never seem more potent a counteraction.

Contexualizing Ultrareturn In The Brain

The difference between E(r) and ultra-r could not be better expressed than much of the latter's absence in simple form from Some Proofs. How and where photographic information is processed [480414] require advanced imaging past structure. Regions are known for some function here, such as how stereo viewing between the hemispheres is carried out. What does seem pertinent is that something happens to ultrareturns were elements of (b) (accumulated ultra-r) are shared outside the body.

[-xyV -> c] would derive neurological memory froim source input to the brain from the sensed involved in I-interaction and subsequent E-engagement. conceivably, [ |I| -> |c| ] .(I am tempted here to represent the ultrareturn transform as (m), since (c) can represent a constant) Arguably, [ |c| -> +xy ] ,but that may be oversimplifying. What is not questionable is the ultrareturn transform is generating output.

lim{ |c| -> +xy } introduces the set of shared experience as it approaches the limit of full neurological transfer of |xyI| ,a absolute.

Solving -xyV as a problem (as with brain damage) means controlling input just as (c) can only be interpreted from ultrareturn source producing transformation. Thus it remains independent of post-engagement E(b) while still being connected all the way back to original SourceXiYi. The transform is almost generatable out of thin air.

The sequence, [XiYi , c , lim{ |c| -> (+xy)} = mod |c| ,from media output to sensory input to neurological memory to memory function shared to output to sensory input between body0 and body1.

Such simplification, however complex it may appear, is fully normalized, particularly under habitualized use. It provides a unique analogue, perhaps the desired constant (?why else use media). For example, while the full sequence of returns-to-output-to-body1 is linear, the transformation of (c) is highly independent. Put another way, interpretation of source media is open to the limits of imagination body0 may add. Thus mod|c| to body1 can have meaning past lim(+xy) ,past any body0 literally recreating a perfect copy of the source media from memory (familiar to some of what is found in savantism, for instance).

It might be worth noting that any transfer of (c) to media input creates a new (xy). what produces a fascinating result in this secondary transform also interrupts the sequence of TP into media that is not TP.

The ethical question, '?how does one argue mass media without sharing argument in mass media', is thus solves. Or at least resolved, and to a very interesting degree. And it could be carried out via { lim |c| +xy } .But that can be carried out using separate media, whether -TP or non-TP.

Zeroth, TP is truncated, its sequence {xy} broken. That itself accomplishes a goal, however stated, critical to programming. Mostly by eliminating it entirely.

First, by generating culture, the -TP or non-TP creates a boundary were TP declines as input while simultaneously generating -TP/non-TP.

|xy| -> -xyV -> +xyC -> 1/xy (C=c, the ultrareturn transform)

Media even can accomplish the task of generating the seemingly impossible |xy| = |1/xy| ,as the secondary transform into the critical representation can be produced from perfect copy on media computer. Since mass media is not strictly media but a subset of it, which might or might not be quite arguable a statement, the line of pathological returns are completely shattered - if the generation is complete, i.e. body0 -> body1.

But there is some misunderstanding here. In short, media criticism of mass media, including roles in journalism, culture, and art, does not mean computer(sic) breaks the sequential chain of mass media. 1/xy is still basically 'xy'. There is still the necessity of E(r) and ultrareturns, as well as transform-C. It isn't clear why judgement is cloudy here. Computers were difficult to use, which creates confusion; new Estates of journalism and the Internet add to the confusion and understanding generates mass media and the 1/xy radical out of (c) without always comprehending the effects of cognitive gain involved and likely rush to judgement. That would likely benefit perceived returns, BTW.

One must wonder whether the culture generated around 1/xy is more confusing that the confused understanding around computers prevalent since (and well prior) to the Internet becoming a mass media a few decades post hence its fruition. Not fully realizing social media generates interest from perceived returns - again, not out-rightly (again, thus the confusion) - it is set to pick fruit from the poisoned tree. Computers born of complexity and recursion, a complete oddity to physics. Mass media a oddity to art, social media realized through its (rather negative) applied returns. Art having its own kind of return.

That mass media is a 'negative' does not distract from any positive dialogue. Therefore as form, its function is non-absolute. Is socialmedia dependent on mass media? It is a strawman argument, not unlike with artificial intelligence or with some of what passes for quantum computing, even quantum physics (sometimes just the word, quantum). The truth gets stretched by the hype.

Legitimacy is found in social media alongside a product of embedded mass media critique like the latter transform of ultrareturn into |c|, which may be a constant after all, for perceived return well past TP and mass media generally.

Dominant Media Psychology: Effect and Impact

Barring specialized study countering its premis, the following statement is true for all media: | M ~ mM | .That is, Media is asymptotic to massMedia. Absoluteness might be characterized as but not limited to: colonial, imperial, national or international, regional, geographical, supremacist, dictatorial. That is theoretically case for all of media, |M| .Distinct qualification is necessary because media is just that. It is media, a transgression at best to any message, a carrier of message at worst. Else, it is not media. When the computer goes down because the government corporation wants its tax for the user to pay its is either paid or there is no message. Media is just a gateway through which information travels. Control can be placed on either the gate or the message, affecting individuals, people, and masses in either direction to or away from interaction.

CHART Media Matrix - media and mass media symmetry

I M   mM   /
0 0/0 0/0 |M
1 1/2 1/2 |M
0 0/0 0/0 |mM
1 1/2 1/2 |mM

As the media-matrix chart shows, |M| is symmetrical to itself, relative to mass media. Thusly, a blank book, blank compact disk, off-air radio or t.v. transmission, downed Internet, or dead mobile has identity function to a dead telephone, downed text-messaging service, frozen phtosharing app, or crashed video stream: [ f { |M| || |mM| } i ] .Media and mass media are not synonymous, but are uniformly synchronous to information. It is therefore trivial that computing would have affective role over either, computers being physical mechanics of information (equally, by analogue, computers and information are synchronous but non-synonymous).

What then computers and |M| ?Here, one finds that computer science is less the 'science of computing' as much as that which happened to science when computers came along. Shannon's famous Theory on information persists, though, uninterrupted because science is limited by temporal subjectivity and intellectual guides limited via mechanics. Its math persists. The media of early computer theory is a novel enterprise for any discourse on temporal photography as much of the asymptotic force behind media is driven by computers. Yet mass media remains ever-present, both temporally and historically. The lines between put TP and photosharing put each very, very close to one another (a point that would be lost to physics). Special study on independent media (non-computer) blurring its line between triviality and exceptionality.

Atemporal media unfolds from the media matrix and its related myth of mass media. Discipline seems to both deride and confound the sense, easily attaching to the Myth. Universality of information must contend with the effect of computers on time. Consider that as quantum physics went long, so too did military technology accelerate the development of computers in the capitalist frame-work. Very opportunistic, but atemporal? Similarly, conjectural argument hyping anarchism as parasitic to the liberal state (were most liberal argument descends from one of defensive ontological philosophy) misrepresents the fact that anarchists are highly atemporal, liberalism highly temporal. Getting back to media, discipline at least suggests the tonality of idiomatic expression. Turning to art for answer just positions the opportunistic atemporal media enthusiast as a solution looking for a question. Dialogue returns to some assemblage of primacy, eluded to much earlier when considering use of video as evidentiary means (still a burgeoning area of development in society, especially the state security society).

How shall social media, basically an industry now, deal with the security state's pervasive apparati of mass surveillance? Given my reflex towards race and information theory atomized in stereo lithography (lessly, the computerization of art), one might better: what of mass surveillance and the race? By extension, in consideration of climate change, anthropogenic warming, nuclear armageddon, political economic collapse of international economy, cyberwar, military revolution (a parasitic feeding on technological development if there ever was one), and destruction of biodiversity, what of the kind of machinations toward racial control as found in the famed UNSC (United Nations Security Council)? One only assumes answer with a |mM|^2 or |mM|^3 rather than exponential |M| gain coming from the likes of social networking - which may just emerge as yet another (anticipated) mass media form.

The New Medicine movement of the 1980's-90's, which sought, among other things, integration of symptomatic and asymptomatic technique (eventually killed for the variety of  reasons, some that undoubtedly led to its rise. The matter was ginned up to be about new versus old/traditional (Modernity's 'magic' is its ability to somehow know(sic) old ways are worth forgetting - unless conforming to Modern (thus no longer existent!)); shizen like what is cooked-up still today as germ theory versus, presumably, anti-germ theory (so-called traditional medicine had a deeper comprehension of 'germ')). An interesting byproduct was to broadcast the idea of mass disease, to wit, disease resultant from mass media. Pursuant to behaviour modification, the adage, 'if you think you have x you will eventually get x' (roughly). Clear inroads were developing around, for example, certain dementia, causality, via asymmetrical neurological function and integration (New Med had a lot of integration Modern medicine needs) of comprehending behaviour modification (negative reinforcement) and the prognosis at that time, indicating continual progression under the New paradigm. So it is (was?) less 'disease caused my mass' as it was the amplification, as with nuclear armageddon and accompanying hypertension (also unique to 'New Med'), of the bad modifier in the victim.

It is not so unlike water cooler talk at a workplace where talk of a television show causes temporal loss with individuals who otherwise might have done something else, enhancing habitual use. (Psychosomatics was a common go-to denunciation of New Med, non-Modern med generally, were placebo is effective diagnostic on the back end (IOW, not critical but useful, so tolerable)). Metaphysics was usefully redefined in line with simply mind-over-matter, a accurate reflection on original Western society (pharmacology obviously the reverse). Outside the commonplace fingerwagging re: temporal loss, its is torturous to imagine other uses were Medicine - with its tv advice shows - ever assert any causality re: massMedia, let alone the other end of the spectrum with brain damage. One cannot even imagine the missive: your favourite afternoon medical and psycho-social help program (typically directed at the 'housewife' demographic) is ever capable of giving you any brain disease. Ironically, some of the strongest voices confronting the Medical establishment hail from the part of the TP industry.

Obesity, fairly epidemic ATM, and chronic poor posture are contributing factors to prolonged habitual use of media. Even consider the possibility of effects of eye strain on vision from reading too much and it is not difficult to find concrete sources of media disease in routine hidden in habit.

Pervasive effects on culture are not hard to find. Video technology starting in the early 1980's was widely disseminated through-out regions of heavy TP use to most every strata of society. Within a few years, the robust music industry developing out of record mMedia with the advent of Rock and Roll genre, supported, as mentioned earlier, by television programming, had isolated mass music to video song. By some measure it 'defined a generation'. Famed artists would narrowly be known to exist barring a well produced 'music video' for decades to come. And at the same time, tracing perhaps earlier through home electronics, were video gaming consols.

Gaming is a different matter for there are unique subtleties. Not quite a class all its own, though. Unique to the afore mentioned analog video technology, but even distinct from the wide adoption of digital video technology, with questionable success (a fact itself worthy of further examination here), on the Wintel (Windows-Intel) x85 series system computers as part of the planned corporate domination of desktop computer culture roughly coinciding with the establishment of the so-called Web and Internet mMedia.

Dedicated gaming systems are basically electronic computers. While processing is streamline dedicated to specific procedures in line with TP, it is not so wise to quickly conclude it so. In many ways (re: #indiegames #gamedev) we are only now seeing a firm blossoming of video game culture. I put it that way because, as with what video did vis-a-vis TP, individual creativity all too often takes a backseat to monetization from the Company standard. A standard fully compliant with industrial TP production centres globally. The more precise way of characterizing this would be with similar TP industry machination around comicbooks (the contextual difficulty here being centred on the word, video). However one slices it, dedicated processing dedicated memory systems, dedicated acceleration (how the 'video' of gaming displays) all spell-out great latency for gaming. A superior diagnostic to video-TP, which generalizes to be highly linear along its TP. The song remains the same. Gamers easy prey for ultrareturning high machine interaction conducive to the associative c-function of b-transform with, also heightened creative interaction. In fact, this last point has the strong characteristic of so-called 'memes' of the |M| Media. I would suggest that the level of its creativity, media interaction between people involving self-directed imagination, outstrip that of gaming creation itself.

Furthermore, gaming require a increased, maximized level of mechanical control. It is one of the few places, graphic design being another that spring to mind, were vector graphics technology has been fully deployed in the consumer market. This was most particularly expressed with the |mM| Internet. Vector graphics tend to be very open to motion graphics. On the right display, presently of the type out of fashion, it constitutes motion to two-dimensional screen that has not been aligned with temporal photography. The other, more traditional category of gaming graphic, called raster graphic, does, at least can. The potentiality of triggering the mind away from ultrareturns important to healthy interaction with media can be found with the c-transform. Gaming could carry this out in real time. Particularly now, as I have just tried to point out, is the most highly proprietary technologies of proprietary consumer technology in the civilian sphere, represented for the most part by the gaming engine, opens to individual, independent, unfettered, and hopefully de-patented access. (I would anticipate military technology entering the civilian sphere trending for the coming years.)

Downside to the positive develop[ment in TP ultrareturn is that gaming can be too energy latent. Its temporality can generalize apart from said diagnostics as pretty non-constructive. Energy is not much of a concern in many TP-driven societies. That is, happily, chaning, though at troubling snail's pace.

Live video streaming is a good parallel analogue here to gaming. Obvious to TP, the ultrareturns not so much. And although energy latencies can readily outweigh gaming, even on-line gaming (which might be too complex measure to contrast here), benefit to human interactions scales nicely - like no other.

Cartoon animation is rather intriguing, with its own developments. Part of the concern here is the technology born with industrial support out of the art form of photography. Cartoonists have the option to play on this in either direction away from or on a trajectory to ultrareturns. Media favouring the former ingratiate the technique to |mM|. As the culture has developed alongside TP, its synthesis with TP actually ends up producing some gems of surprisingly artistic quality. Industrial TP expectedly lags close behind. I would describe hand drawn super-realistic animation, illustration photography, as pre-TP. As computers merge process with design, any qualities inherent to animation distracting from ultrareturns as well as TP itself diminish. One is just left, as with proprietary gaming technologies, with another accelerant to potential negative side effects of TP through human technological culture.

- - - - -

4804171128 |c|

Mass media is a absolute creator of perceived returns.

Mass media is absolutely generated by ultrareturns.

Equivalency of absolutes:
|mM| -> |-xy| -> |xy| <=> |c| -> |b| -> |a|

|c| associative to |a|, though there is no co-relation otherwise. At the same moment there remains increases in potentiality of (a) with any:
*See Summation graphic (PNG image) for "f(a)c/t"

One can conclude increase in time(t) as any mass(a) is affected by the presence of (c). Absolute value approaches |1|. This reduces the expression matrix spatially in potential difference a : c, surly to the lower limit reached @1kilopixel. As |c| is generated, |a| decreases in time and space, in relation to |b|. |a| does have to exist even though a high rate of |c| could exist in small quantities.

This potentiality of |c| becomes an imperative to |b| as |a| increases. Thus feedback from |c| to |b| is recursive. Were |c| > |b|, given proximity |b| -> |a|, the volume of |c| could be analogous to a diagnostic for |b|. Because of the existence of free will, control over cb-feedback negatively impacts |a|. Recursion further resolving the quantity of |c| outside |c| -> |a|. The diagnostic thus quantitatively balances with |a|, possibly suggesting that ( |a| < |c| AND |a| > |b| ) with applied time(t). So there needs to be a fair bit of media to produce ultrareturn in parallel to the relative constant |c|. Consider, for example:
|c| -> socialmedia (sM)
|a| -> |mM| (massMedia)
|b| -> |M| (media)
4804181155 does not seems so alien from the resulting pathology of affecting information. To extrapolate further, applied unit theory gives one a media unit (residing with returns complex), massMedia unit (physical dimension), socialmedia unit (energy dimension).

Diagnostics enhanced by socialMedia provide useful solution to the difficulty of measuring |b|, or here, |M|. (Why do we have media? Media exists physically as a carrier of message. Unit theory expresses this as K^3 -> I^3 (knowledge unit and the (more-or-less) universal primacy found with the information unit (represented in visualization theorem by the standard geometric tricylinder, itself representative of minimal extension of axis of the Cartesian planes at the point of Union)). |b| thus represents the set of perceived returns including sensory returns - as SR:{PR + SR}. Consider a text alert from a mobile emergency alert system or use of a landline telephone or satellite communicator to alert rescue personnel in the event of a emergency. Not hard, then, to imagine little concern over whether or not 'returns' are critically questionable.

Socialmedia |SM| not strictly inflective of massMedia or immediately impacted by identities found in complex Media is vital in the completion of comprehending human media. The category of knowledge information sharing between individuals and groups but one media. It is more than useful as humanity contends with genetic media or mechanical media in the physical world and media in medicine, like biochemical media, or advanced/complex analytic media as with simulation (possibly one of the best available diagnostic tools today for inquiry into fields of complexity).

Over-riding demand on |c| pre-emanates from massMedia. One must look past energy as the constituent cosmological structure to information itself. All too often with regards to the Universe the human component is over-looked and disregarded. It remains amazing how little regard is paid to temporal loss, given such significant numbers. But this might pale in comparison to the enormous investment in development. And it is not a afterthought. Development is the central ethic! Computers are designed in such a way to be so overtly data driven (not all information in mass media constitutes as data, not code nor electronics), so open-ended (anything goes) that there is no way to keep the technology from collapsing under the weight of its own mechanical hubris. Apathy resultant from utilization of over-complexity of design on use. But it is not complex for developers, raking in their tax on their antitrust. Concern increases as the diagnostic turns away from the likes of, seemingly heroic, socialmedia in a straight-line to computer architecture. But who wants to close-up buffering, eliminate over-flow and freezing-up on corporate (re government) systems in place of a fetch-and-carry approach to prioritizing data requests as opposed to processing demand (the prevailing open-ended approach having data streaming and processing occurring in simultaneous parallel)? Heaven forbid should data-rooted processing 'slow down', (re: be more assured). More apropos, heaven forfend should we interrupt other multi-processing while watching video.

Social media thus definable as distraction from impending demands of the emerging non-media state. What else does it reduce to except displacement of individuals from inherent response to individual demands of life? The line between informing the media "public" of virtually | irrelevant | (logically inconsistent) bodily function - yes, of the individual as technicality - and distinct crisis of individuals (displacement, discrimination, misrepresentation, oppression) no longer "blurred" but just simply \gone/. Not a matter of philosophy but basic choice. In this way it is invaluable measure of the traditional physical perspective, though too highly diagnostic.

Sometimes the force of life exhibit signatory energy characteristics that cause feedback. Contemporary science proofed in mathematics demonstrate potentiality for all energy, the proverbial butterfly flapping its wings starting a hurricane on the other side of the world. But, as another metaphor states, sometimes one must act past perception alone and sting like a bee. This is the response recursive to life in the progeneration of protein. Any drive restricted to socialmedia is resolute with reducing all to the more trivial physical world of media from the, albeit energy-driven, perspective of consumption.

How much of social media emanates from Commercial, not Organizational domain, website? Nearly all? Is it a social response, or consumer one? 4804191041 Is it as with its predecessor 'blogosphere' a closed circle of offline friends? What do the hackers think? What do they really think? Perhaps humane media is next and one can resort to referring to massMedia under the brand, classic media. Why just socialize when one could give purpose in ending poverty with usage of media. Why just mere retweets when there could be heroic poverty ending tweets and antisuffering tweets. A sort of ultra-c, as ultrareturn is to perceived returns. And when the scale of |c| surpasses the populations of massMedia users, this could be world tweets, world media. What a website that would be. Repeating liberalist history and turning to the kind of survival found so pronounced in spontaneous protein generation, media will fail to desired utopian goals. Mechanize protein generation as media, then yap and bitch about fucking media. Then you're talking. Maybe!

Perceived returns motion is kind of funny in how attractive it is to both State and individual. Lends to social complexity, no less particularly so when abandoned to analysis. Where ever video technology is to exist, a fair degree of media resources accompany. Where ever video presents itself, individual viewership potentially facing the entrancement. So something hard has to be made easy for individuals to accept the programming. Not much to staring at a blank screen. Equally, not much to self-expression, either. This is the nature of passive experience.

|c| is a negative constant, though (-c). One cannot talk about their favourite video artist any more than discussing laundry or preparing a meal. Normalization is embedded in new English words to flounder with engagement. It tied into trends in meal consumption. Or it was iconographically represented in the empty space of a bookshelf or other ornament, perhaps so even in a indirect manner of reference. That is more video than video. That is the seductive aspect angle of its true mechanism. Momentum gets charged by applied temporal loss by fixation from extremely well thought-out designs on viewers. A living, breathing, active, recursive demographic. The production of automation highly automatable, already automated, to wit, its optical illusion.

Automated production of video need not equate with fabricating automatonic viewership. Western Civilization was conceived by a madness for power antagonistic with respect to art. And there is a point when civilians seek that deeper response from their otherwise perfectly agreeable massMedia than wit provides. But is there a point when the negative content catches up with this flaw in the conscience of the citizenry?

wave period   target         pinnacle-achievement     essential-product                     
0  |1930's-68| science,math | CPU, Universality      | mechanical/electronic computer; theory
1  |1969-96  | art,culture  | memory, Info. Theory   | microcomputer; Internet              
2  |1997-2034| work,civil   | I/O, stereo lithography| smartphone; blogging                

Answering the question begins by establishing markers indicative of such an awakening. The immediate trend in social media is informed by computers, especially the late invention of smartphones. Yet the essential product of the period found in smartphones is not massMedia (Internet and,basically, so-called 3D printing. In fact, the preceding period explored through computer memory systems leads to the development of touchscreen technology. This may be the greater underpinning to the smartphone than its networking capability (part of what actually defines what it 'smartphone' is its touchscreen I/O (Input/Output)).

A zeroth marker, then, would be to conserve development and regress, if one could call it that, to use of computers in scientific evaluation. One could further define this in line with autonomous computing. But then it becomes important to stress that factors are not fixed. Pursuing one item in computing does not directly correlate to another. It is mostly historic trend.

A first marker, maybe better than the zeroth, is computation via stereo-lithography. This last point may seem controversial, since it does not apparently match with logically applied Completeness ("3D-printing" is computing). But it is none-the-less logically complete (and, most vitally, independent of traditional views of media, were media is, well, simply put, matter, mass (informational to perceived energy states congruent with information theory). Information merges with the (disproven; incomplete) physical dimension as stereo-lithography is absorbed into present-day applied computing. The essential margins defining science, one of its most valued traditions, will shift as will media (also presently information-centric). As they should, given the scope of the central concerns (the nature of the Universe, the (for now purely intellect) conflict between quantum theory and cosmology, et cetera.).)

Idle hand make for the Devil's play things. It's worth keeping in mind when shifting from psychological attachment to healthy cognition that our bodies are designed naturally to run or wak, designed to do, and not just to work. Our digits need their freedom of movement. They can get locked away with technologies prompting pressed buttons and touched screens. Ask a musician if you don't believe me. Better yet, free your music in yourself. No use waiting for somebody else to do it for you! Within the framework of the 1st wave of computers after the invention of the microcomputer and the (barely successful until Strasizar's switch) Internet creativity became paramount to the eventuality of central targeting under the weapons of the Computer For Every Desktop market strategizing. Old school imperialist-style objective placed tools in front of the individuals of the public, their hands, to clock how well they could be guided towards agenda serving the existence of more of itself. Obviously, it was to garner profits and powerful public control for years to come, possibly decades. At best it lasted three years. For a few hundred thousand or so early users, mere months! At that time |c| = HTML would be a accurate depiction of pre-massMedia Internet. More than just blowing the doors off windows, as I believe was eluded to in earlier writing, network code was outside of the central market strategy. In that way, the market would surly not meet some of the US Department of Defence budget set aside for it in the commonplace directive of capital market privatization. While reverse payment likely not at issue for the capitalist State, speculation gets ahead of the curve and money that was supposed to be there from monopolization of computers was not there and the panic button was hit. The Federal Reserve helped prop up this network program for the market planning to progress forward and privatisation went ahead under the tutelage of the Executive. This was spelled-out in the private meeting at the White House with dozens of 'masters of the universe' from the, mostly, corporate sector and government. Though it is worth nothing that the details of which, some twenty years later, do not appear forthcoming. (I would suspect there was enough nervousness that keeping the conveniency of any paper trail was undesirable.). It is possible they were not over-reacting.

Just as the loan system, the central source of economic value as computers were invented (and television) gives birth to the welfare state, the private Internet gives birth to socialnetworking. Mass surveillance the icing on the cake a decade later may have even been taken aback for a short spell with the surprise and shock visited by the hypertext counter-progression. One must rise above massMedia by rising above |c|. Turning it off is a part of something too engrained in the over-all civilian system for it to have impact. It means rising above engagement whilst being engaged. |c| has complexity. A abreaction such as defining the "squirt" of stereo-lithographical process as a type of |c| drives the matter into very real consequence. No potentiality required.

Following the analogue of three-dimensional printing here, one elevates according to the survival principle. 4804221010 The philosophical matter instead residing with that not particularly impacted by life. Intelligence identifiable to energy transfer between the reorder of states based on that principle. |a| could be entropic or it could be |c| (mod|c|), |b| the reordering as a function producing |c| (mod|c| would essentially constitute the universal construction (information theory). This does point to a limit in that the output |c| from f(b) is not necessarily the input shown here as mod|c|. c =/= mod|c| while the modulo conforms to a plausible interpretation that |c| = mod|c| when |c| is idempotent. The potential presence of entropy means that this interpretation must be false, were |c|=1. Therefore mod|c| is asymptotic to |c|.

As mod|c|=1, then |a| < |b| and |c| || transform (b-c). Bonding |b| to |c| accompanies a mod|c|+|a| feedback. (If one has difficulty here, consideration re: t=0 can be helpful.) One could define |c|=xy and it would make no difference as body0 has left any physical state, existing between energy|c| and energy mod|c|. This constitutes a transform(c-a).

There is a relation between body0 and body1 here with respect to |c|. That is: body0xy -> body1xy, generating  body1|a|. It's a interesting situation when both bodies are in transform(c-a)!

Obviously, the availability of returns is dynamic. While perception makes the availability of the transform(c-a) a reality, it also carries the consequences of entropy in reaching potentiality|b|. Between bodies, among masses, it has the effect of sharing in certain entropy. This is the obsession of the multi-body media to reject the ever-present single-body state in the bonding of |b| with |c| (within one body). It constitutes the attachment to opaque reasoning and though at the expense of intelligence.


Androidal and cybernetic body-c as well as sexual reproduction provide candidates directing the potentiality of |c|. In accord with unit theory, unit-c, or just -c. Comprehension of the universe of possibilities with -c means hypothesizing around its own ultrareturns in the wilds of physical perceived returns |mM| with its xy and/or the chemistry of the transform(c-a). Two limits present themselves:
lim(-c)0 ~ entropy |M|
lim(-c)1 ~ n(b)

4804231231 Media entropy is the mechanized transmission. The upper limit rests with the memory of the viewer, expressed as a quantity. While this does not seem at all straight forward to understand (I think I have been able to demonstrate otherwise) and appear quite complex neurological pathology, the physical cosmology on the lower threshold can be quite disconcerting. It's as if one feels sorry for the box that spews out shape, colour, and sound. That the emptiness of experience could be the only experience truly physical taxes the mind. Yet what is important is that the media box isn't lonely?

4804241025 The easiest study of media is to shill for the Media government and call it study, education, schooling, research, task group, volunteer, institute, department, ministry, or internship. Developing programs of inquiry are attractive because while the streets and avenues of media science is each fairly linear, fairly straight forward, the combined town produced has complexity. Program ought best reflect that. To get it, one need order, language.

Program require a seed, a transform, the trifecta variation (eigenvector) to be accounted for. Language, responsive to the balance between contrasting linearity algorithm of variability within the entropic and memory historiographic limits while at the same time addressing the presence of planning (x=0; x=1). Objectives root in analysis, medicine (t), and entropy (a diagnostic unique to the diagnostics of the program in full context). Lastly, addressing the use here of simulation.

Meanwhile, computerization of massMedia continues a march towards certain oblivion. I put it that way as there is too much nationalism and monetization for proper assumption that it will replace art while those things decline inevitably so. It is a step on a scale were once computerized much will stay the same and much will change. Media cosmology and origination myth in its mechanical inventions secondary to universality or digital media, now fused with construction (which is supra-mechanical; mechanical complexity).


480425 _-C_is_deterministic_. That means that the mechanical physics of its logic existent in this universe to find out something for using Applied computing is a bit like a truth serum. As one develops (it) the fly in the ointment is exposed. But so is the ointment. The efficiencies our non-computer mechanics has been well established. Furthermore, the knowledge of this establishment was exposed after the zeroth wave of computing in the first wave. The secret, as they say, was out. This determinism has been referred to here up to this point as, diagnostic.

Media computation require the user. This is one of the unique qualities of the second wave after letting the cat out of the bag after the 'infection' of scientific and the mathematics communities with (universal) computers. Therefore, for those with a scientific comprehension from a free mind and desire or passion for inquiry can deduce, computer is word with which the definition of inany and every human lexicon is logically incomplete.

-c is associative.

Memory does not inform media, for example. Another example of associativity would  by media informing, or transform to a output from the user (implying i.e. a possible each of cognition?).

-c has uncertainty with memory.

Sharing (of memory) is certain, though. The algorithm of -c is justified according to the function of determining the relation of sharing to resident memory and that memory associative media, all of which reside neurologically (long-term memory (here, ultrareturns)). It wouldn't be impossible to suggest media and its shared expression on the part of the user are quantum-ly entangled, sharing the chemical component (which may tend to be famous elusive to routine detection).

-c is highly expressive through three-dimensional graphics. -c thus expressed lingually in a linear manner.

-c is geometrical in accordance with the visualization theorum.

-c is simulatory.

Language then compiles as geometry that expresses mutant originating media combinatorially with mental influx within undefined limits, finalized as representational form from gathered logic shapes. Again,-c in linear logical expression.

-c interpreting memory through imaging of the brain would do so in accordance with standardization in such imagery. In tis way, -c has completeness. (How would one determine -b?)

-c has the technical identity of transformation between sensory information and representative simulation. This is resolves through compiling. But resolving it with reality means containing user output as a function of the simulation. This is creating a diagnostic potentiality, true. But resolving it also relies upon it for completeness. Ergo, there is entropy in the lack of user output given, for instance, continuous media input and continuous neurological response according to re: fMRI.

Linear -c constructs along the z-axis of sensory media input. A z-algorithm would be conditional to measuring -c (consider the amount of output from media a user can have -- various sharing between users of various media experiences, some entwined. Yet z-algorithm is only abstract once directly measured for content and not energy direction. Thus the vector of media -c would be best measured separate to z-algorithm.)

-c Media Probability Matrix (see PNG image file)

|->z|    \xy,       -xy,              transform-xy
- - - - -\- - - - - - - - - - - - - - - - - - - --
->|M|    \minI      (-r)+I            modB
->return \I(r)-|E|  I<>E~P(r)<>U(r)   U(r)gain
->|c|    \0/Igain   P(r)->-c          |MC|

*I original interaction
- conforms well as information (I^e) as unit theory z-axis
B is ultrareturns
U is ultra-
U(r)gain (i.e. axonic)

4804261045 |c| output is best observed spectrally to its associative media as well as its perceived and ultra- returns. Because cognition implies the presence of intelligence, its impact on seeing exists. However, this may be superficial or trivial depending on how connected it is to affecting media that the user has experienced through their senses. This can be expressed as the relation of similar transformations, ideally taking the entire linear process into account. This relation can be unique, a patter, or a combination of unique expression and a [pattern. In this relation, |a| becomes the constant (|c| is the constant that is expressive or diagnostic of media/massMedia). Simply put, media input is unaffected by intellect, interpretation and sharing it. Imagination alters sensory perception. Minimally, media could act as a trigger for the imagination to generate its own memory from the interaction and in turn be expressed, to a degree, far outside the trigger. It is useful to consider this irrationality as provable and mathematically justified. The irrational product of |a| in cognitive function is a limit opposite to media entropy (were it would be possible to indicate sensory response outside cognition - consider brain wave function for the living individual who is technically brain 'dead').

This is more than speculative theory of a doctor Frankenstein. Computer programming attenuated to individual media interaction should bounce between the zero state (entropy) and the one state (media affect) more or less continuously through period(p). The reasoning here is originating with the understanding that media is diagnostic and entropic and must never be confused with being exclusively the product of intellect. 480427 Thus either considerate of being fully expressive of intelligence generally.

The entropy of the a-relation and the transform(c-a) mentioned earlier (c-a feedback) bear a striking similarity to one another. Feedback is observable as the individual creating copy of media while the a-relation betrays certain lacking of cognitive feature, arguably even free will. In one, action, in the other, inaction. The difference between the two rests with media, which is by nature physical (thus acted upon).

Parallel argument exist between |c| and the transform-xy expressed here in the probability matrix for media. One is expressive of the existence of media while the other is that expression itself. Given the statement: |c| is massMedia. Yet is any sharing of xy in the unique transform (which computationally can produce perfect copy) not indicative of media pre-existing? In both or either intelligence apparent and non-essential. (Back to the philosophical: if a television plays a show and nobody is near-by to watch it, does its media exist?)

< n = A WHILE A = C , A -> C AND C -> A = n ^ 2 >
- would produce a similar result for n in a probabily computer.

< INPUT <> 0 , M + INPUT , OUTPUT <> 0 >
- indicative of data collection of memories garnered from media in data computer code

-> 1
WHILE OUTPUT <T> INPUT (media input/output inequal in time)
AND A <> B <> C
- code monitoring media feedback on a control computer

Note: code is a function of computer environment and not complete otherwise. In this way it may better reflect cause and effect (uncertainty). Any media system is diagnostic, meaning it is a deductive computer reasoning with the uncertainty of mind only thru shared media nad the sharing of media between 'box' and individual. It is due to the presense of diagnostic, as I put it, that measurement is separated between: 0) content & 1) media commons.


Media complexity cannot be denied. Media itself both a negative drain on the social individual as positive contributor of information. The media computer exposes this duality. Media complexity measures media recursion along these lines. That is, media creates the problems best served by.... more media. It is a curse of the Modernity originally and uniquely empowered by art when so the civil discourse became steered away from the mere existence of truths and the only conversation of merit was the one repeated the most. Not so dissimilar from recursion itself so at the heart of computer development from day zero. But as the logic recursion of computing has led to many paths for humanity to pursue the recursive quality of media brings us back to square zero. The voice of the voiceless is not recursive, and therefore ultimately rejected so that what remains is that which feeds media with more media. Ironically, or not, the (minor) artist presence in media reduced to the act best serving media recursion, just as easily the worst act man can produce.

Complexity itself is of utmost significance to computer science. Past matters concentrated on recursion, it is in part how one deals with the so-called decision problem, also significant at the same time in mathematics' obsessing on set theory (those sets underlying the concept of 'decision'). And one of the reasons for that is time, expressly polynomial time (or just 'P'). The recursive qualities of temporal loss vis-a-vis media, and massMedia in particular, cannot be understated, then. Of course, the stress tends to be on more time, so to write (that is, the speed with which computers can solve problems - factorized by the decision problem - is key to use and development. Consider here the work done in theoretical computing around the fact that computers do not solve problems humans can't solve independent of computers, just that the mechanics permit for a more useful spans of time in which to solve it. this is useful here, more analogous to computation than media computer focused on a exponent of time spent by the engaged user.) IOW one must apply nearly identical reasoning, out of logic, to much of the work done in computing over the decades. The direction of inquiry though a bit radicalised.

One is forced to ask, "when does it all end?" One must understand that the biggest problem is ending recursion process whence dealing with something recursive. So the difference in time between P and temporal loss in media is a significant identity. Time lost to media interaction at a time of 'artificial intelligence' is, in fact, a very drain on non-artificial intelligence - at least insofar as were intellect is present. The obsession on the decision problem in developing the, obsolete, artificial brain, and, upgraded, intelligence (which I think remains just as misinformed then as now) parallels the obsessing of temporal loss in media computing. there is likely carry-over here (cause and effect: computation decision problem -> media computed problem of not-being-able-to-decide-to-turn-off-the-media-device ('deciding problem')). At the expense of repetition it is worth nothing here that there is no |c| without the media device putting media into one's head.

The factor here occurs whence leaving the media environment. Rewards, returns, become significant as there can easily be a straight-line, however encumbered by increased time or not, from more media entropy to desired disengagement. All to more significant the use of motion media and video massMedia.

Revolution began in the West with the phrase, "The Universe is a sphere." It seems that the present variant of which accumulates in how one shares in perception of that sphere (even the literally, quintessential 'ballgame' of video massMedia). As I have tried to illustrate, media complexity does not justify media recursion by 'turning off'. There is too much mental activity going on. This, even though those ultrareturns can be ascribed to long-term memory (which today generalizes to even immediate memory of the frontal lobe). Thus one finds more similarity with recursion. That being, when does |c| truly end? To answer, there is a clear delay when time is dependent on factors relating to but not exclusive to media engagement. Essentially, the more the brain may be trained on |c|, the harder it is to get off of |c| (this should not be confused with addiction to media which resides more around perceived returns). And the sheer quantity of time lost to media interaction factors into the deprogramming phase, further complicates due to the presence of intellect (though it is worth noting here that intellect is very much the target of illusion, such as the optical illusion of TP (temporal photography) or of the mind illusory propagandism).

Media produces mostly fluff for attention, little memorable items. So it isn't hard to imagine that those memories will not index in the brain significantly as, writ, a personally significant event, historic event, life altering event, and those sorts of memories. Repetition, key. Thus as delay continues and interaction is not reinforcing that memory, the brain indexes it further and further from the affect so desired by industry to cure servile response to further media accumulation or such responses as induced decision-making on advertised products placed in interaction, sometimes referred to by the outlandish word, tradition (best observed here where I live during Christmas).

A = 0 , T + BC < M > A (media delay code on a media computer)
is reasonably recursive as the M feeding |c| becomes more asymptotic with T. What is that reasonability?

Avoiding techniques like negative reinforcement, delay acquisition is vital to ending media recursion. Reasonability is justified a bit differently from massMedia than from physical media were recursion exists up to the point of completion of construction of the model object. Delay for physical media exists when construction on one object ends and before construction on a new object beings. And as delay elongates with time use of media declines as well.

Media  \ Delay Acquisition     \ Time      \ Reaquisition
energy  \       turning off     \ -c        \ turning on
physical \ construction complete \ modelling \ material construction

Reacquisition could be described here as 'media health'. The time factor would be healthy when it, well, zerothly exists (!), but more realistically once there is just balance and equality between acquisition phase and the over-all use of media (z-axis).

4804290941 -c is in a inequality mode. Its instruction set interprets a negative juxtaposition on a media computer. Remembering delay is logically undecidable. Delay ends media recursion. According to the infinite set produced from recursion delay causes reduction to a enumerable set. Theoretically confounding. Pragmatically, profoundly welcomed. (Endless media play - enabled by over-production of electrical fuel to media devices - seems irrational. Yet.... essential for comprehension (thus, too, contributing to media complexity.))

-c is thus, to a specialized intent, defined by delay - delay is its raison d'etre; the goal of its computer program; its 'chief protagonist'.

- - - - -

Media Health and the Physical Axiom, Stereo Lithography, and Physical Media

4805022218 Full mass media returns:
- perceived literary returns
- perceived returns records
- perceived returns audio
- computational perceived returns
- mobility perceived returns

Words like media or cybernetics fall into a category of linguistic form were meaning strips the lexicography. It is interesting to go from a "steering of ship" to "the Internet" with the realization that they are perfectly synonymous (particularly when one goes in reverse from 'cyber' to 'cybernetics'!).

At the beginning of my written-oral and written work here is the idea of the single form mass media, motion. One must swiftly move into neurological and cognitive related aspects of viewership to gain insight into the underlying relationship: viewer to media machine (sometimes just, box). After sound reasoning, it becomes difficult to inquire further without reaching the understanding that not only is the box in very true essence entirely trivial (simplistic) but that the definition of mass media even rests outside of its perceived message (complex). Until, finally, one arrives at a general understanding more acutely comprehensive re: media itself, which underlies mass media. This could be expressed thusly:
|M| -> |mM| -> (E+I)r
(E+I)r -> |mM| -> |M|
depending on the order in which the tree is read (were: Engagement, Interaction, r is returns, Media, and mM is massMedia).

And so I have continued to express inquiry in a formal logical and scientific or mathematical type of manner. -c, a media computer language, is built on this media complexity. And as I have tried to point out the algorithmic structure of which is highly linear, on top of its complexity (I guess I mean here rather than being simplistically linear). Shifting direction of base process implies moving from effect to affect, as with the CA-feedback (were C is sharing in mass media and A is mass media mechanical sharing of content) illustrated in the "|c|" section of these writings.

Media itself could not be ignored. But this step, relating to all media, was built out of a generalized approach to the specialized field of motion. Therefore it wasn't difficult to move into a media representative of the physical world. Something not too foreign to a basic understanding of quantum theory, for instance.

Reality of this matter is found between information and knowledge. Principally not so ignorant of philosophy either, I must add. And so is our focus the universe as it may be or the universe as we can prove exists? If no astronomer views a known galaxy, it does continue to exist. It is just that the galaxy as yet undiscovered must not exist as such a concept confounds mathematical precision.

Make no mistake, it is no trick. Knowledge need not carry much in the way of entropy, if any at all. You better believe information sure as hell does, though. (Thus in part my handy little mental experiment using Planck's Law.) Here, knowledge and media are synonymous. They mean the same thing. Only from such a position as a educated person (whatever that means) find value in the physical world. So too it is from this position one can assert chemical and medical attribute to the universe. (One may need reminder here of the nature of the chemical double bond.)

Meta-reality confronts the West through its system of social order and control with Imperialism as its product with media and mass media its most recent fruit, alongside the liberal democratic and capitalist States. It would be deeply shocking if the West (its Institutions) did not fully exploit media to the nth-degree. Something a robust media "Study" could certainly measure, of enormous benefit to a humanity in need of some explanation for great temporal loss (as I have termed the exaggerated loss of time in the pursuit of media experience commonplace in some contemporary society).

Though media is not equated with knowledge. Rather one finds that the linearity of media feeds a dimensionality of knowledge. A bit more than information. A bit less than knowledge itself, as with the media entropy just eluded to. Instead, interest rests with the secondary knowledge of what media is doing to us. This may be a most vital statistic to surviving in a complex world. As I carried the title of my work here with the qualifier, "When To Turn It Off".

Spherical quality of the physical world need not be replaced by the tri-linearity of a more Cartesian-like approach to data. It is just a superior guide, irrelevant of any quantum theory. As boxes are replaced by small scale, nanobot media accuators, a complex approach becomes the only available tool left to use. With Western Institutions in the way, the task can seem formidably daunting. But I think here that appearances can be deceiving.

Solace is always found in outlying reasoning, perhaps with so-called revolutionaries, or plain outsiders. Is change brought about as a result of the computer development revolutionary, or something more? You are going to have to answer that question yourself.

Physics Continuum Meets Non-Revolutionary Proof Logic

Part of the conundrum of Modern efforts to advance logic - originally developed to refine inquiry and get to the heart of the matter, not mechanized in computation - can be summarized as a misguided effort on the part of the scientist with general regard to truth as guide alone. Truth rests with those falsities through mere inversion, just like learning subtraction in grade school as the opposite process to mathematical addition. Over time, one may rest with sticking to truth at the expense of rejecting items demonstrated to be false - as though the falsity does not exist! There is a hardening to truth in set theory, pretty significant for the contemporary artithmetic, were computers were somehow obviously the byproduct of physics, the work of physicists, and technology, particularly computers, are presumably a novel mechanic useful in some research into the cosmology. Everything goes on pretty much the same as before. One drum plays nuclear energy here, the other drum beats nuclear war villain (as Caldicott recently pointed out in a tweet, a global nuclear war will produce six hundred simultaneous nuclear meltdowns). All caught in a miraculous stalemate of Deterrence. Science carries on, triumphantly. Physics will provide answers to the most important unanswered questions on gravity. This while the Lucassian Chair is a capitalist entity set to descend into deeper hypocrisies of finance and economic exploitation, some bad with the good of space travel through cosmological space. Who is to deny this reality but naysayer or doomed analyst. Truth is the physical world - one gets punches in the face so many times, one knows to turn away. the way of the universe. It's a job. A ultimate profession, surly.

So what is physics? Hawking in a speech that ought to seem infamous, given about the time of his stint as Chair (Cambridge) and emblazoned with the oddity, "The End of Physics" (which traces back over the century, for some as certain hubris (as in 'physics is all that and then some' (though whether having included Hawking with that viewpoint might appear to be a mistake)) guides one to a story about Einstein and one of his friends from Princeton. Story has it that towards the end of his life, he was dismayed about his work up to that time. If that wasn't astonishing enough, though unsurprising, this old chum of his - apparently one of the very few he hung with towards the end of his life - was quite a character in the scientific community himself to write the very least (though also quite an obscure one at that). That was Godel (the subject of Hawking's suspiciously pandering(?) speech title). Most don't realize - a few might forget - the first computers developed alongside quantum theory. The consequence of its mechanics enormously impacted, influenced and informed by work in logic - particularly between Kurt Godel and in opposition to his contemporary peers during the 1910's and 1920's. While one draws a straight line from Godel to VonNeumann, Turing, and Shannon (even Zuse, the inventor of the zeroth computer, the Z3)(Zuse German, Godel Austrian (neither names are generally known to the public where I live in Canada ATM)) going from Godel to quantum theory - the famous meeting of formally original European quantum physicists and Godel's seminal paper on Incompleteness and proof theory miniscule years apart - would have presented Hawking with quite a challenge if but not for the part of his profession alone, assuming some double entendre to the less pandering side of the ambiguously controversial title.

To say that there is no influence on the development of quantum theory, the invention of computers, and results during one of the top one or two most tumultuous moments in European history (only one figure here is American, Shannon) - Godel's published work roughly mirrors the historic rise of the Nazi Party coinciding together at that time and therefore however related to the fate of humanity (possibly a better indicator of his lifelong paranoia, true or not, that someone was always out to poison him) - is basically a anti-intellectual thang. The short years moving between the outsiders of the quantum theorist and Godel a strangely perverted precursor to the relatively short years of the grotesquely destructive, deadly Second World War a decade or two away....

480507 Was it a revolution? Is science and mathematics now de-established for the computer statute of inquiry for contemporary Modern states, their militaries? It is not existential -- that 'the end of physics' means all problems have been solved (a 'Principia Physica') that physics has just ended under energy quanta; that computers have 'ended the arithmetic' that all fields of inquiry have been so infected by computers -- when it is real. What might be concerning a non-revolutionary logic here is the lack of clear, unambiguous subjectivity to the systems of inquiry.

Knowledge in a more continental world was a difficult thing historically. Possession of which had to compete with violent interests with whom for whatever reasoning seemed threatened by anything until its demise. Preservation, though, between preserver and document was key. Revolution was borne out of advancements in processing stored knowledge. Meanwhile, the global world points to a very different place. Knowledge can thus become reductive to information. In the more knowable approach to digital video, for instance, the (pre-existing) video is encoded to a design particular to that specific type of video, typically called its 'codec', its encoding. This is unhelpful to a information video were the key aspect is to verify that the correct decoder, say from a series collection, matches the encoding of the video. There is a straight line here, once more the pursuit of the so-called, over-romanticized hacker, to reverse engineering. So information can, increasingly shall, deduce the valued video codec (it still seems unclear whether or not this was in part the original design on MPEG21).

In the olden times, it all took one man, one person - a King to write out knowledge in story as song; a philosopher to recount the contents of a library of knowledge in accordance with field of inquiry. Science valued sages in time for its very survival from the violent who would just sooner brutalize the preserver and turn the preserved to dust. So math made sense as the knowledge positively accumulated, since its very nature is to add. Math and knowledge create a feedback loop attractive to inquiry. In a simplistic sensibility, knowledge leads to formula, formulas lead over time to tables, and tables to computation (if you will: to automation of formulaic calculus).

Complexity points to algorithm, in turn to language compiling, and to networking. Simple things born of solution to real world problems here are trivialities. Unlike ancient library, the knowledge now includes the entropic. All things that could be or once was known. So how could, can, revolution continue?

One instance of continuity is algorithmic historiography. There, the video codec (a very contested algorithm among its various owners), immersed past its language of mere moving picture and synchronized audio codec data, must contend with a 'insecure network' - the contemporary warmonger threatened by a priest of knowledge becomes the machination of corrupting uniform information resourcing (the mechanical computer (as opposed to the material computation of stereo lithography)) with, basically, simple entropy. Razing and torture becomes akin to that which threaten computational equilibrium. Like violence, like warfare. 4805121125 In other words, the machine that is the computer pushes conformity generally. This generates the problem of multiple standards with which to conform to. Eventually, many standards may be approved. Very confused situation arises. But the computer that is informational, not strictly a machine, can generate its own standard, so to write, even reverse engineering all of those other (ever-antiquated - a serious problem for the arts when getting involved with temporal photography) standards with spontaneity! Were is the logic in such insanity? 480513 Even the engineers of temporal photography are confounded by the standards diktat (eventually leading to all-out rejection of the standards process in surprisingly short order during the period of intense digitization (part of State mass surveillance programs in computing and mobiles coinciding with Internet entering mass media and the Dot Com Bubble, Fed-guided economic collapse). The engineers (SMPTE) have simply developed their own standard, presumably for dissemination to theatres).

Education was indubitably modified by the drive towards revolution. Early citystates - India, Buddhist, Mayan, Greek - conformed around objectification of the very likes of one unitary physical cosmology (what even today in the Greco descendency is just, cosmology). Like imperial metric, one divided and then ruled. The cosmos a thing to be conquered for the quelling population of sprawling architecture and parks and gardens. Agriculture physically removed yet absolutely essential. All of the land - every square measure - had to serve the City. Thus the Universe was divided into sections for study. The basis for education, knowledge; Latin scio.

Information, though, is no basis for a system of education. And media is not a school(sic). But it does point to a lesser Analytical philosophy (quasi-revolutionary about the circle of Anglo, AngloAmerican, and post World War Two paradigm). I will have to leave it up the reader to decide whether or not information to wit is compatible with quantum theory (cybernetics points to compatibility). But at least in part the Universe is diverse around discreteness of its building block, taken to order of magnitude across a plane not entirely unlike spacetime. In reality, it is not unlikely that beyond seemingly eternally elusive, possibly fictional dark matter is just simply, information itself. Our search for the physical returns to the very act of searching. Inquiry returns more inquiry. The circular logic points to deeper reasoning for comprehension of the universe. The universe itself as a concept, or dimensionality, falls into question. Why do you have the emotion you in your heart at this moment and not a different emotion? Is that physical, or something deeper. Which of your actions contain none of such deep, internal direction guiding your hand? Physical cosmology about as much concerning truth as fear. Since fear is purely superficial, there is no answer there but, like with inquiry, more fear. Contained within these general limits remains information. Similarly, it is this discreteness with which one finds the alter-Education schoolhouses of the Citystate and its Colleges, its new Nalanda if you will.

Conceivably, one can go on computer mass media and mobile mass media and immediately access any scientific paper ever written in human history. Even those hot off the presses. Or the latest popular sensation in industry music and movies. How can one, then, turn to inquiry and assume citation is the essential demand either as a part of peer review in the millennium-old scientific method or by the commonplace standard of scholarship? If the words written here are on display as hypertext, what possible use paper-couture footnote? On the other hand, as one may see these two questions the triviality of the under-schooled obsessed, how effective a writer whose prose is made obsequious by autospell and autocorrect features (autogrammar, autointelligence,...), particularly to a language of such lexiconigraphical scale as English? How does one out of so-called artificial intelligence (re: enhanced ordered programming (I hesitate to even suggest sacrificing AI to a perceived-returns determination)) use language with any sense of precision outside of the puritanical active automated conformity -ism?

Dialectics' nature is in part why philosophy does not leave humanity. We struggle to find the way in which we can and the way in which we wish to share in language together. Just as we want our religion to be the only religion for humanity, thinking wrongly one philosophy can guide all, we can readily recognize - unless disciplined via self-deception - other religion. It is physically impossible, not implausible (thus possible), for a Christian-centric humanity to exist exclusively. Philosophy is more real than the physical dimension. The race will not survive, the psyche simply won't let that happen. Our very nature opposes any philosophical utopian desire. So turning to struggle is the reasoned response were there is reason for one particular dialectic, not any conceivable dialectic. And some will resist struggle. It seems like too much work. One might rather seek returns, it's quick and requires less involvement of pesky psyche or intellect. But struggle produces reward, which is irresistible to the conditioning of the free individual. Returns alone transform the individual into sycophant.

The system of State, scientific revolution, peer interactivity, and knowledge exists alongside the system of information, hypertext, race, and planet just as alongside Nature, tribe, shaman and sovereignty. But every conceivable system is not derivative of the same order. Not because they are somehow unworthy, for it isn't sport. Rather because the same learning humanity acquire through the multiplicity of religious philosophy and dialectics reassert even the context of the individual in humanity - humanity itself - as also not the fantastical singular answer. Even as I write this I reason that the ease with which writing can be created should make me uneasy whence compared to historical transgression when writing, certainly reasonable preservation, was impossibly hard. Today, some of that astute hardness of linguistic yore is found in the polynomial time in usage of the arithmetic.

A universal dialectic for inquiry ought to diversify the pursuit. Consider lessons learned from criminology. That as soon as one finds the answer to all problems one discovers its over-whelming problem set to encompass every premise by which the answer poses by its very existance. We accuse others at the expense of ourselves becoming the agent of illegal action. Consideration of the availability of scientific papers on-line (payment for the service is what is in question, but the whole matter of availability is persona non grata for the Fourth Estates, and public enemy number one for the First) is not addressing the dialectic. So-called filesharing of music (payment for the service is what is in question) fails to met the struggle founded in its dialectic. It is like giving a caveman a machine gun - it's out of place. But it happens because it is the nature of humanity through time. Systems en generale fait accompli.

- - - - -

4805151015 Statement

Exposing the temporal photography industry as non-art mass media is accomplished from a position that accounts for all media. Turning the discourse around one is face to face with placing media, its arch compatriot mass media, in the context of the next few millenniums of our informational, post-scientific race. It is well past the supremacist dealings of the imperial side of Europe - of some Europeans.

People fear falling into past ways when it threatens the, false, security that they feel is acquired through technology. True of any period in the past two hundred thousand years and beyond to other primates. Today, yes, it means placing the toolmaker in concert with the quanta of tool, material being tooled, and person doing the tooling. One of the problems that presents itself is found through the discovery process of how society deals with visual art. In this way one uncovers the sacred-like knowledge - the basis for one Western Civilization - more circumspective to information. The aspect of media interaction characterized by markers of vacuousness if not something deserving of our disdain but as diagnostic to the entropy that serves the destruction of ecospheres.

Universal media begins with the sharing of media in the absence of technology directly informing the commons and ends with the physical media axiomatic around human creation. Using media to manipulate others is indicative of a unnecessary limit. Media Entropy, on the other hand, finds its way into the limits of sharing and creation were intellect intersects expressedly with both cognition and memory function (in these Perceived Returns Motion writings, long term memory implies all memory, as to some more recent understanding in neurology suggesting term memory is, basically, all long term. Though this view may be more biased towards focus on the frontal lobe. The connectivity of memory in reality would perhaps be less complex temporally than once thought.). Refinement of the absolutes, neglecting all over-simplification,
which would be commutative. (Note the absence of any mechanical technology common to contemporary interpretation of media.) The guide here is that art is a smaller set than media (like information, more off to infinity) but is not a subset of media since intellect is non-optional along the lines of media entropy. This is just akin to saying that humans are not art creating machines - not everything everyone touches turns to gold ('entropy' is a scary word that expresses this reality to represent vital aspects of media that non-art stuff). Ultrareturns, really all Returns, greater contrast between these two sets as lesser influence from Interaction and Engagement with media cannot be understated.

4805172119 Universal media, then has the two sets of all sharing derived from media, here called |c|, and all of human creation (for arguments' sake centrist on each individual. As with a brick wall being the sum of its parts, so is any media scale, such as mass media, only as good as each individual of the mass participation.). That loop closes around sharing in one's own creation. Without this, there is no inert or expansion of media form (Here, I avoid form as argumentative to art form. But this placement in the loop is its raison d'etre.). So, no creation of media for mass media form, no mass media. To justify form is to demonstrate its own consistency. Sharing in media demonstrates its completeness. The absense of visual art (formed in illustration, sculpture, pottery, textiles, architecture, and, most significantly here, photography) provides inconsistency with base intellect (i.e. media entropy; CA-feedback) thus, while convenient, to equate the two would be a mistake.

- - - - -

Perceived Returns Motion 4805221410 Abbreviations, Terms, & Nomenclature

Abbreviations - logic syntax formal to PRM (*unique to Unit Theory(see Terms))

xy (the energy content of media informations (i.e. a photograph))
I or i (Interaction)
E or e (Engagement)
M (mechanical induced Media)
mM (mechanical induced massMedia)
XiYi (media information interaction)
XeYe (media information engagement)
(r) (returns)
a or A (media information variable)
b or B (perception of media information variable)
c or C (mass media; media variable; media Constant)
|c| (absolute value (of "c") variable)
<=> (equivalency)
~ (asymptotic to (usu. f(x) ))
== (absolute equality)
=/= (does not equal)
^ (exponential)
I^3 (infomation unit (unit theory))
K^3 (knowledge unti (unit theory))
lim (limit)
-> (follows)
p (period of Engagement/Interaction)
t (time (inconsistent with entropy))
n (number of)
- (inversion; occasionally, electrical charge (as with the central nervous system)

- - - - -


Time - temporal measure of media interaction
Photograph - artistic hyper-realistic representation of visual information
Temporal Photograph(TP) - optical nerve-term
temporal loss - time spent interacting and engaging with media 470320
energy loss - kinetic energy diverted to accumulative media interaction
minimum-maximum (optical-nerve-term (period))
mass potentiality - how TP is served thru the minimum-maximum
physical axiom - (Planck's Law) the assumed physicality of certain essential aspects of media 470321-27
judgement unit -(Unit Theory) measured conclusion of decision process
interaction - input from media (i.e. media display to occipital lobe)
engagement - neurological creation of memory of media interaction
gain - signalling in the brain (possibly electrical; not necessarily cognitive
input - information energy active with sensory organ; (a)
output - individual sharing of media-originating information; (c)
ultrareturn - (b); long-term memory of media interaction
perceived return - pseudo-autonomic/neurologic response to media stimula
media entropy - media signal lacking returns (roughly parallels Shannon Entropy)
period - time in which a series of interactions between individual and media occur 480328
media science - mathematical calculation of media under |c|
media computer - logical mechanics of how individuals share in media
delay - a important period that exists not impacted by media
universal media -
Unit Theory - that any conceivable construct, typically information (i.e. Information Theory), can be logically represented as measurable units (roughly parallels quantum mechanics 'state vector' (re: mathematical 'vector unit')). Therefore a "media unit" would be any of A, B, or C in the language of PRM or -C).
Visualization Theorem - expression as logic in three-dimensional imagery (up to infinity). A typical example is a Information Unit represented as a geometric tricylinder (which roughly parallels the Union of Cartesian planes in three dimensional space)

- - - - -

-C - Media Computer Language
Nomenclature List

A or B or C (eigenvariables)(energy physics, cognitive science, neurology) 480428
TRANSFORM -> (AB, BC, CA(feedback), INPUTB -> B (ultrareturn))(word or symbols)
<> (inequality; code encapsulators (linear or multi-line); lesser/greater sign
INPUT (media output as its human input)(human creation of media) 480425
OUTPUT (human output of media information)(media output)
0 or 1 (state indicator)
<-> (equivalency)
NUL (return of BA, CB, AC, 0, or 1)
M (arithmetic variable of B)
, (sequence step indicator)
_(space) (between all operators)

Unique Operators (all media forms)
PRINT 480506

VIDEO -C> shared code via moving pictures < 480523

-C> insert sequential instruction code here < 480522


insert sequential instruction code here

- - - - -

4805281318 About Me

Naturalized Canadian; received Secondary schooling and capable of self-learning (due to environmental affect); musician (guitarist, bass guitarist, drummer, percussionist, keyboardist, digital musician, songwriter, composer, music theorist, recording and studio artist, developer, vocalist, presently aspiring amateur performer); visual artist (graphic novelist, comicbook artist, digital animator, graphic/Web artist, scupltor, master, designer, various other lesser interests); writer (poetry, short fiction, non-fiction essay and journalism, commentary (technology, the arts, culture), scientific (information theory, logic, general (quantum theory, chemistry, medicine).

I maintain a archive of my work, mostly spanning from the period 1984 to 2008, which includes, though not exclusive to, three book trilogies (were each book fused genre with form (i.e. handwritten + fiction; desktop publishing + tech article; scriptwriting + mobile;....), a book of poetry (unpublished), poetry anthology (including two books of childhood poetry and adulthood lyric), approx. 139,000 illustrated images (about eighty percent of which is animation stills), several hours of produced Experimental genre music, 238 multi-track songs (written and recorded) - half digitized from tape, approx. a hundred DX7 computer programs, and a number of develop series works (I was a early blog/vlog front-end creative developer, contributing to free sharing social networking (ca2001)) including a comicstrip, comic book neo-hero, podcast (2006-8), & music series (Transonic).

I have two free 'pPatents' in digital typography (universal metric and omnispacing glyph). My writing, i.e. (-; , is usually published with my general use Unicode font (a substandard which only include Latin, math, science, geometry, and dingbat glyphs).

In media, I developed the 'art corporation', in line with my 27 years as a artist. My own particular of which (the concept is my own ASFAIK) is based on network communication and three-dimensional graphic user interfacing (3D-GUI). That came after developing five(5) smaller companies, ca 1982-2000, based on the convergence two dynamic pursuits, paralleling the similar convergence style in my books. Those are: video and desktop computing, photocopying and collage, home music studio recording and public distribution, picture with sound with word mixed media and the studio environment, and universal digital information sharing.

I have no recognized peers over the decades nor association wit no professional standing. My volunteer work includes environmental clean-up (beaches and trails), 'guerilla' gardening, and animal welfare (esp. cats). I remain active in my community in supporting individual liberty for those less privileged, though my ability to do extensive work here has always been limited.

PRM is created in the spirit of departing from creative art and music in the direction of inquiry. It proceeds after a simple project several years ago when it seemed apropos to create a proper infographic encapsulating a complete history of the Internet. So much its development seemed to reach an apex at that point. After that, I pursued a exploratory paper in the humanities, mass media, and art. The product of which included clarity of discovery in human scientific revolution and led to Perceived Returns Motion.

(Note: as a (harmless variety) ethical hacker, my on-line work is not available off-line. Many servers I worked on are gone and some accounts (including my video account) are closed anyways. FWIW nearly all of my work over the past decade has been confined to twitter (I used to hang with one its early (ex-)developers) and exploring the last type of development in blogging, the 'Light Blog' (minimal set-up, maximal media - similar to a tumble-log), on servers in the Indian Ocean (a copyright haven). My point? It is vital to comprehend the difference between media interactions. Some do not use the Internet, others cannot. Some over-use media, others too little. If one wishes to explore avenues, one must live on them.)

March 07 2018


Perceived Returns Motion

(EPUB, 22.1 KB)
470212 23:00 Perceived Returns Motion
When one should stop watching
- rejecting moving pictures,film,cinema,television,and video as Forms of Art in the Humanities

It is very reasonable to assume that the cultural artefact known as Vaudeville, the first of its kind produced by the non-Indigenous settler populations of USA and Canada that was entirely native, was usurped and relatively swiftly replaced with thousands of near-by theatre 'playing' the conversely inanimate cinematic movie product of industrial film production. Remnants of the native culture today can be found, somehwat, in 'late-nite TV shows' or so-called 'musicals'. But for the most part, the movie industry (it has many names, but centralized around the same set of production Studios since) remains all pervasive in subduing populations globally around its narrative.

While the apparent demise of Vaudeville does not seem so apparent at all - having essentially descended from prior type, powwow for instance - which were seemingly not always tolerated by settlers, but since have seemed to reappeared - industrial film has come to have the hallmarks of familiar, though uniquely presented, military machination, strictly for the consuming civilian, and outright propaganda medium. This brings one to one of the most vital aspects in the development of Western Civilization since Enlightnement, 'visual art', or more imprecisely, the 'Arts'. Or here, 'art'.

Art is the most concrete instance of its kind identified in human development. Its portrayal in humanity is characterized by at least two ternary qualities, often intertwined. Even if so intertwined without exclusion. Topically, it reduces to varying degree of anatomy, landscape, & still life. In contrast, Art subjectively reduces humanity to matters of peoples, land, and wealth, the source of all power. Civilly, though it may be found one day to be, likely, concurrent to all nomadic cultures, art, alongside its nemesis, science, engender the proper development of a tool-making re: industrial society into something ideally more characteristic of our species.

Irony is not lost in present times when the nature of the physical world that has so entranced the non-artistic community since at least Antiquity in the West, is called into question and performance art legitimatises itself into the centre of incredible artistic conversations of increasing scope and intensity that we have seen no less than four out of nine in total art forms present itself over the course of the Modern Age. A minuscule two centuries out of sixty millenniums, according to most recent findings in archaeology. Amounting to nearly half of all forms art can take in the physical world but in only an astonishing 0.003percent of the time. And that number gets pushed back further with new archaeological finds. Clearly, though obviously too not as clearly to its institutions so devoted to a rejection of Art for 0.06percent of its timespan, the West, its Greco-progenerated institution, has woke to the sense on the matter.

Irony gives way to surprise as such a West resists the forces of Native acting through its peoples. Mass media, categorically five sevenths visual in nature, arises to just under two fifths of its timeline in history to 86%, all but one (print), of all of the forms in which it takes in the physical world. (?Does mass media have a non-physical dimension) It is within the frame of the timelines of art and mass media from specifically within the bounds of the Modern Age that is the focal point of this dissertation.

Temporal and spatial qualities, though, are quite-trivial. Instead one is left with the following dilemma: is institutional response to its virgin acceptance of Art in essence incidental or are the same elements from Greco origin that rejected Art into its establishment ranks behaving instead in a reactionary manner, still rejecting Art with the knowledge that control of its population in this regard is usurpable with institutional, re industrial, mass media production. Or both. Or perhaps the rise of mass media since the dawn of the printing press, outside of that Greco-originating institution (arguably even born out of opposition to it), is simply a product of art itself?

Speculation gives rise to some interesting plausible motives. Criticism of mass media has only existed for the most part for over half of the past century. So it is comfortable ,in one sense, to assume that any temporal flux in development is, again, favouring the side of coincidence, circumstantial.

Returning to Art, then, two of the four Modern Forms, half, are also two of the five(5) forms of Modern mass media. How can this simply be written off as coincidental?

To answer this question, one must peel back one more onion layer to Modern Art Form. Here, we find a central thesis emerge. Are these two Art Forms actually forms at all? It would be sad to assume the West's peoples, as many and varied as they may be, have absolved past indiscretion with Art in general, Art that was always there incidentally, and mastered it? Absurd hubris!

Back to mass media (Modern), these questions never arise since mass media is not the essence of our race as Art is. This, even as performance art (which should not be misconstrued here as a Form) takes advantage of the underlying realities of mass media easily taken for granted. Art is faultless while fault lies at the creative nature of mass media. As creating, say, a book, one may lose the original yet the copy remains. Not much of a concern during a period of time before Modernity when the mere presence of book form could effectively undermine the authority of Rome's Church. Copy is its strength. The fact mass media units - books, records, mobiles - have persistence lends itself to technological development found in Art and just about anything else in civilization. Such development can reverse, as with forced, or planned, obsolescence found in Industry.

Part of the answer lies is found when examining performance art. Thus the central question: does motion have form? The answer is yes. But also, no. For as observing a human walks in a forward manner, its altered shape between steps is not nay more Art then it is mass media. Motion less explanatory, were perception is concerned than something as inconcrete as intent. How can the motion in a work of performance art be less artistic, less Art, than a moving picture, cinematic film, television or video production?

Plank's Law provides a simple question postulation: that form is physical, that physical is atomic, that atomic is particulate, that particulate is quanta and that quanta is energy. Black bodies radiate electromagnetic radiation, altering the underlying perception of the Physical as universal. Something found throughout East Asian culture, philosophy and science. Thus my original question is transformed: can motion have form?

Why do moving pictures have form? While the immediate answer seems quaint, history for example, the contradiction of the perceived physical universe, now a legacy of human misperception, or at best over-simplification, is expressed through the form that all Art takes. Obviously, art is not a likely legacy of science. But Art does represent the placement of energy into the role of legacy en general -- "one is that". Unlike limited human endeavour as with science or philosophy, or cosmology, Art is its very product. "One" is humanity, "that" is form. Art redemonstrates its necessity despite Modern scientific endeavour.

The entire question may be answered by this conundrum between motion ("that") and performance art. Yet this alone does not answer the central thesis, however relevant that becomes at this point.

Manga, graphic novel, and comicbook provide a very intriguing anecdotal to any such thesis. It, as with Form preceding it, is not dependent upon motion. In fact, it first appears to descend - I would suggest is - the first Form Art takes. Simply, illustration, perhaps the most enlightened physical thing humanity has made.

Fascinatingly, the supposed Form that is on-line video, digital video contained algorithmically in temporal chunks, often called clips, proliferate almost immediately hence the Internet and its lead (mass media) subnetwork, the Web (hypertext). The pictorial novel has not faired as well yet. While Corporations controlling software vied for the illustrious position of video codec standardization, a fantasy the motion picture industry engineers soon abandoned, likely due in no small part to the unsavoury competition between elements of power and control over humanity thru the seductive reality, for now, of pictures-that-move, pictorial novels struggled in on-line representation, called copy, as something somewhere somehow between discrete graphic algorithm and discrete photograph. (Photography is the first - possibly only - Modern Art Form and Art Form in humanities since the down of architecture, roughly coinciding with the time of the story of Adam and Eve in the Garden of Eden.) Graphic novels can take electronic book (e-book) form. But comicbooks have their own standards, apart from the kinds of differing textually representing algorithm used to represent the text of this paper, such as EPUB (a free, or Libre, algorithm; patentless).

Comicbook, then - contrasting with questioning of the two forms immediately preceeding it historically, television and movies, this paper rejecting as Art - has form, indisputably so. But is it Art? Much handwringing is wasted in, and out, of our questionable institutions, questionable at least were Art is concerned, regarding the so-called definition of Art. But since the matter(sic) of physical art is also temporal, the question of whether or not moving pictures constitute a Form in which Art can take becomes non-trivial.

Artists, instead, must contend with a people and peoples whose interaction with Art is met through copy and print, not original. Is a painting art or is its representation in video clip form, as many more eyeballs will potentially see the clip (copy) than the originating Form, or form, the Art, or art, took.

A second question more reasonbly constructed in reality than definitions-of-art is the essential role that Form takes. In short, Art requires form, not Form. Since art is itself legacy, one must dig a bit deeper below the surface appearance for answers. This means that ARt can too be represented in film. It is just that does not make it a form for humanity, outrightly Form. Should art be approachable by any viewer? Should only it be encrusted gold leaf? Must it only be experienced through representation? Certainly, that should be up to the artist. But when institutions controlling the software and hardware by which viewers approach art, does the artist even exist? Could art not just be a representation of artificially intelligent design?

Alongside Western science adopting what Eastern science and culture - a culture terrifically accommodating to the Arts institutionally - knew, energy-centrism and cosmology, Lovelace's algorithm and Zuse's computer entered humanity. This is the age, too, of film, suggesting a inarguably strong suit for moving picture alongside mass media (Art a weaker suit, at least up to this point). Copy thus become 'data', a software type.

Software, energy, was useful to artists nearly as soon as it was freed from the hands of institutional scientist and mathematician alike, roughly in the 1970's. Since then, as artists use computers to integrate with their art we see the rise of the same in industrial film production. And when Silicon Valley's domineering attempts, Computer For Every Desktop, coincided with the emergence of the Internet as mass media form, all systems were equipped, although so minimally as to be a joke (Desktop was basically anti-art technology), with video playback - no native producibility capabilities. That was restricted to separate purchase. Which begs the question of how much more moving pictures are copy systems for social order than anything rising to the level of art. Art Form in video, at least were the desktop computers at the advent of the Internet entering the realm of mass media are concerned, seem a stillbirth idea.

This is not the nature of art form. Manga as a Art Form also becomes questionable too, though. Do we not mold art out of simple clay? Well, photography has similar constraints. But it is also prior to, very necessarily so, technically (historical fact) both film and television. The latter proceeding the invention of radio (as mass media, one could simplify television as radio-film or film radio).

Inverting the conversation regarding the designs of mass media on art, one is placed between observing utility and beholden to the body that is art, Art Form. Art Form is invaluable in a humanity occupied by a conceivably over-proliferated mass media, creating a class-like distinction with those of limited, or no, means of access. But art is not inaccessible simply because its body is difficult to access, that is the nature of mass media interaction. Mass media access is its utility in social order. No such order exists in art. There, one finds censorship and destruction of art as well as on the other side: housing and preservation (curation).

Such artificial inversion produces a fearful wonderment of artistic-like diffusion. While there are always faux artiste, as with faux Form, mass-media-as-art lays out the platform through which just about anything goes. Non-art from artists, art from non-artist, and so forth. As mass media is highly property-centric, actual artistic creation suffers the mischaracterization.

There is a difference between mass media and art, for sure. But that difference is not a equivalency in humanity when it appears to be so. Art can be everywhere and in anything conceivable. Art Form is simple. It is the recognition of the pathology of humanity's interaction with the physical world. It is possible with the advent of rising performance art we do not need any more new Art Forms in the Modern Age. Given a comprehension of art history on the matter, we might just try and wait several thousand years first.

No film or TV, or video, exists without photography. This calculus as "Art" is essentially spectacle. Worthy to note, the viewer is as non-physical as art or artist is. A performance artist no less brings the idea, art, to the viewer than the viewer brings art to the artist. Form supersede this art quanta as the physical world has been often a source of great challenge and misery for humanity. Promoting the idea of art as a exclusively mass media enslaves the artist to machination outside control and ultimately create wonder in place of idea that serves such a master as propaganda just as high-art is served by finance. A mind under the umbrella of wonderment in the absence of intellect need never entertain objectivity, rigours of discipline, the history of the trades, accountability to truth, ethics, or beauty. Wonder is convenient physical discreteness, as with mass media, reduces the very idea of humanity to a space were even love need not exist. Mass media is a behemoth that art cannot serve. Viewers peek out its window and see the multitude. That moving pictures never existed before recent times feeds wonderment like pouring liquid fuel over a burning fire. Yet even more to gawk at. Convenient access is absolutely key, as any artist would explain in relating to their material from their creativity. Wonderment thus replaces imagination. The significance of art ot the survival of humanity, likely our greatest imperative in life, eviscerated from the temporal place. Individuality is lost to increased psychological stress and the inability to attach to emotion, making the idea of humanity - just its idea - impossible to any persistency. All that is left for the individual is to follow the persistent, progressing, ever-changing but empty pursuit of pure experience.

Technologically trivial aspects of moving pictures and video do not account for the over-riding and troubling temporal acuity accompanying its society. The West can therefore return to a artless subsistency, comforted by the knowledge that wonderment will fill any temporal fix with the fear accompanying art's evisceration. This does not require colour. But the effect moving pictures can have on the mind of us creatures of habit is easily exacerbated by its addiction, or with the inclusion of any other dimensions along a physical axis.

Propaganda feeds the mind through repetition of message and introduction of the suggestive qualities to control of mind with a fair degree of specificity. But moving pictures give little escape for undisciplined sensory habit. Which seems consistent in human behaviour with mass media generally.

The West can never completely return to the artless past of its traditional institutions dating back to Antiquity. Temporal losses of its populations to moving picture mass media is enormous. There is no escape! As software could rectify those mass media box(-es) in daily life with humanity we are faced with something like the 'video game'. Alongside time, it seems, the energy to run out art with the wonderment of artificially reproduced motion illusory only increases.

Objectivity is waht is at stake. And as stated earlier, while one may consider oneself immune to behaviour - the proverbial tossing the TV out the window - there is no escaping its modification on Modern life. After all, one of the axioms of a predominantly liberty obsessed society are the growing threats of the existential. Does one want to buy the snack at the store or is one motivated by video ad? Well, is there any difference.

For no reason of their own, or, frankly, by their own hand, really, visual artists must contend with objectivity generally as a hour by hour affront to theme in work. Rendering temporal matters mute. While it is true image does not lie mass media has made the conversation, the greater conversation of respect, about control. As viewers move between video source until arriving at self-gratification artists grapple with still having to present to what is basically permanently diverted eyes. So it is ironic that motion art or video art or movie art is even considered to exist as to the powerful hold it has over the Arts.

Point is, the artist controls art. It is tactical. Artists can only control mass media, if ever at all (almost beyond likelihood) through their creation, not through what they do, which is to create.

This need not be a stated goal of motion media. Arts can still use the optical illusory technique in film, video, vector graphics, and animation. What does that mean in the cacophony of endless verse of the film industrial poet of faux motion? Even so, the artist is simply on the dissection table of whomever non-artist is controlling the mass media dialogue o their work.

Motion mass media will over-represent every facet of society before it will welcome the artist. Since all humans are artists, mass media is quite simply a self-fulfilling prophecy rendering art useless and impotent next to game, sport, drama and comedy (theatre), news, and serial.

It is not just a environmental disease. Flipping through so many frames per second of photograph has been around for thousands of years, just in different form. As welcomed to post-Enlightened Modernity as visual art was, at best, welcomed as 'mechanical science' - on par with mopping floors - motion mass media is contemporary to propagandist scripture, state philosophy, the gladiator theatre, and revolutionary book. All of which individuals cannot avoid in those societies without loss, even conceivably death.

On that last point we dwell still. Every moving picture "work", temporal, is a continuum of those like it that preceded. Lacking that inextricable crumb of intellect, though, one can do away with preceding works. They are irrelevant to the narrative that the daily, hourly life affected by the video is up-to-the-minute and state-of-the-art. What do we do about this? How does one place video proper to convince peoples to stop watching?

History is littered with change that has come from individuals behaving differently. In this case it would require something other than a Show or Clip. 4703021019 Changing perception emanates from objectivity. Change is unlikely if one does not sense any need for it. Objectivity itself is not a one way street either. While it may be greatly a product of circumstance, there is a feedback here in that choices made that cause a demand for judgement is impacted by past choices. Any lacking will cause more need which in turn generates conditions with less assertiveness, less control.

Objectivity is a requirement of life. It is either poor or quality. It can be honed. Doubt, the doubt that there is nothing to be concerned about re: passive viewing of the temporal photography of video et al, can direct judgement towards a end perceived by somebody else. This is a limit on basic freedom for the individual. Choice is not involved. Affecting how one chooses is the aim. And a mature, informed human being can see through the thin disguise of doubt veiled in choice itself. After all, programming is linear. But culture, and moving picture are cultural, at least can be so, is bilinear, three dimensional. It is the moment when the convenient placement of motion picture enjoy the shift from one linearity of program to a different linear programming that is when a suggestion to mental intuition can take place and behaviour modification can be further impacted by the viewing experience.

There is a cultural artefact here. Choice shifts from the individual to the inanimate. When film overtakes Vaudeville, performance, it quite simply and with nearly no exception whatsoever, outside silent movies perhaps, replaces the animate with inanimate. Theatre becomes less a vice and more instrument for perception adjustment.

Today, there is no need for the theatre. Except to maintain control over performance with certainty. Musical recording experience originally accompanying many Vaudeville theatrical productions is equally impacted by its relationship between listener, equivalent here to the viewer, and the inanimate in industrial music (not to be confused with the genre of the same name). Clear advantage persist with the record-playback experience iwth the inanimate. Spectral control and ploys like ease-of-use paramount to engendering not just a convincing experience for the listener to engage with but to provide a platform for aspects of acoustics which musician and creator can take advantage of. It is ultimately a experience with the inanimate, though.

Economy of industrial society has been a centrist voice for institutions of political sovereign authority and academic learning over the past two centuries or more in the West. The idea of a moviehouse playing the same movie, even the same actor or small set of actors as found in performing arts theatre companies is so vacuous an idea as to be extinct from any reason. Yet it exists, always has. For optical-illusion cuts through any language. It affects large, specialized regions of the brain. It is clean, clear, untouched or untouchable, outside the self, like deity or mystery. This is not the product of a 'good movie' but of the movie experience itself. (Not so for the conditioned, habitual viewer.)

Centralized economics would appear to conform with this wonderment model. Remembering choice housed in the inanimate is faux choice as a rule of thumb, the broader context of the single viewing experience incorporates lifestyle and all of the spatial and temporal avenues of living. Costs are minimized. All that remain is whatever imagining is produced successful in the inanimate but through the voice of the filmmaker. What you see is what you get. Decentralized economies obsess on the programming. That is because they are without a centre. And so require maintaining system integrity through formulaic means. When the snack gets boring, adjust the flavour, alter the recipe, put it in a different packaging, et cetera, et cetera. Even the transient experience between 'movie' and 'TV show' has been reduced to a modification of time length, both incorporated into the programming, generally referred to as, franchise. But the flowers and bounty are still unreal. Still inanimate. So maybe wonderment in either case produces wonderment or not. But who is to say both economic models are not impacted thru successful introduction of persistent programs of moving picture experience. To state these matters are under state management and control a understatement.

Changing perception is easier to do when it involves inanimate objects under strict control, here being oft referred to as Art, and what is for the most part individual experience. That is why the somewhat oxymoronic home theatre has caught on so well, though for incredible privilege. Which is not to write it is a wholly difficult technological privilege. High colour, high fidelity, high resolution, even high frame rate create further enhanced illusion on top of the already illusory hypnotic experience of temporal photography to the perceived domain of the Arts. ARt might just as well be science or pornography than any perceptible conversing with limit of intellect and intelligence. Too, then, irrelevant to any placement of the Arts institutionally or otherwise in civilization generally it would seem that extracting Art from culture in and of itself is useful for pushing agenda with ulterior motive to humanity, however intentioned, forward on a unsuspecting public. This contrasts with familiar propaganda systems which put forward subjective agenda. The overtones with which video et al has taken over the dialectic, matching its partner in consumerism also, suggests that there may be prior instances of social order informing the entire matter. Considerations of the power culture surly factor in. At the same time it doesn't alter the realities that lead to a successful system, though it certainly continues to benefit the accumulation of more power into fewer hands likely by accelerating planned opposition to the integrity that power has over military force. This conclusion results from the scale and breadth of objectivity technologicalized to hyper controlled sensory machinery.

Viewer participation depends on incentivization (egoism; inhibition) training (not to be confused with any mental, psychological, or hypnotic suggestion), electivity (mostly deincentivization and inhibition), and aspects of personality, such as persona and to some degree mythos (noting its simultaneity with psyche). Learned behavioural paths of viewing pictures-that-move could be in part assumed for one of the same reasons alligned with its seductive quality dependent on the convenience factor, that is, its rarity in Nature. Science depends greatly on visualization and standards deduced from two dimensional source, grade school geometry for instance. And the Art Form of photography predates all forms of film and television, or video.

Mythos, while present, has surprisingly little to do with the viewing experience. At least were temporal photography is concerned. It tends to have the efect of spiking participatory dependency exponentially. More on the confluence of participation and passivity shortly... Story is the information of our intelligence. Lacking in either produces a story that is uninteresting - even not being a story at all. While it may evolve over time it also remains firm in its root. And so in this way, myth evolves from simple story through experience, the experience of those sharing the myth. Film and TV, video, are myths produced from the story of media. Because they, it, are, is, not required to carry Art, it does not produce myth, exemplified by matters concerning objectivity already outlined. Art and myth are a feedback loop in humanity, the former being the product of intelligence. how the West survives without Art while producing its myths is a sad account of the moral decrepitude of its institutions, a consistency surpassed only by the consistency of its discipline against Art, any voice of Jesus Christ an exception (to Rome as well). More than just state-of-the-art, Vaudeville's moviehouse nemesis, the advent of colour TV, and digital or smartphone video represent art by their very physical existence. Any threat to viewership is a "Goliath", even though that myth is seldom, if ever portrayed in moving pictures (noting its connection to the plight of the Palestinian people). Delivering new modes and models of moving pictures is a "Herculean" task. TV's are the alter of late Modernity's homes, once in the centre of the home, now for the time being spread to every corner ot the much ballyhooed 'smarthome'. Video is routinely equated with Security, increasingly a part of civil life on city streets with CCT police monitoring. The story of persons doesn't matter. It is the story in moving pictures that takes place. Goliath, Hercules, and Jesus Christ are subtexts to the presence of temporal photographic non-trivial faux reality. They are trivial up against a "Art" (technological temporal photography) "imitating life" and another "life" "imitating art". This phraseology translates literally as "like a movie" or "like something right out of a teevee show." But these are not statements out of anything real, let alone intellectual (the type of animal that humanity is). They are by-lines to the myth in our pockets, as in the case of smartphone clips, or sitting in our living rooms, as with TV screen. History is no more a story than it is a flatscreen or touchscreen, likely lesser so in fact.

As for engagement, whether it is the passivity of viewership or the participation in the complex of subjugated objectivity, action and mental planning remain entirely dependent on the will of the viewer, or, viewership dependency. Everything is trivial up to that point, easily accomplished through the subscription service model.

P2P, Peer2Peer, were two or more computers hooked-up to the Internet could share, among just about any data package type, movies and TV shows. Viewership dependency have had no such privilege. Industry tries to restructure here around what is called 'a-la-carte'. But the p2p model retains superiority, both in function and use. No small matter.

Does peer sharing undercut the system utilizing perceived returns? It would seem too early to tell. But the industrial establishment is clearly threatened presently by it, though in recent years it has taken a back-burner since p2p is obstructed by the stricter data control culture with the popular smartphone platform. With all of its content dedicated to liberty and the expression of liberty, the liberty of the viewer is the biggest threat to industrial temporal photography manufacturing. It is likely fatal.

And the more educated side of the software community, in part self-identified as Software Libre, can be situated to observe this fear on the part of the Establishment, though pretty much on the outer echelons of power. So it is likely not to be in much of a position to do anything about it. Both lack artistry in any serious degree (though there are likely to be some noteworthy exceptions).

Getting back to returns, when the rubber hits the road, Peter and Mary viewer need a reason to donate a monthly sum of thier disposible income to a blinking lights box displaying temporal photography along a two dimensional plane.

Social order plants its seed in the soil of human autonomy. Individuals must balance between autonomy, society, and the inanimate, or hardware. All three conform into a system of order were autonomy is dependent, society is fixed, which it tends to be anyway, and the inanimate is in flux, or in this case 'discretely animated'. Would Peter and Mary subscribe to a video service feeding their, say, a-la-carte content if the Jones's aren't? Maybe. But irrelevant. Peter and Mary subscribe because their tribe, clan, nation, and society do. Why else would grown adults stare hypnotically at a inanimate box passively engaged with its manufactured product designed around temporal metric as a part of a fee agreement mandate to take up their time?

Feelings of inclusion and shared experience can be commonly rooted in humanity in a way that can only be characterized as all encompassing to emotional physiology. Temporal demand increases with negative engagement, decreases alongside competing systems of order, and remains in flux equilibrium with mass inertia. That last point representing the success of control as the psyche is what is at stake and not free will alone. Content must be fully franchised in a system of increasing temporal demand since time, at the heart of so much unnecessary struggle in the West, is met in the psyche via repetition. Content is symbolically represented through icon, poster, toy, food packaging, even video ad.

Reinforcement of the viewing experience, a human-inanimate interaction, is the superior franchise, though. Content is secondary, 'king' or not. Video is so technologicalized. Engagement exacted through mass interactivity. There is no Art. Only a system of propaganda exists in humanity in this way.

Demonstrating this algorithmically, a artistic model turns to science, mathematics. Logic. Zeroth (-: art require photographic representation. First, motion animation must be technologicalized - both creation and thru viewership. Second, and with the absence of prior models, or in virgin application, acoustics completely the multi-sensory experience. So that, Third, uniform modelling can be distributed. Yet the artistic model has little use for the Second and Third construction. They exist as exclusive to mass media and not art.

Pragmatically, given the proliferation of trade tools one can create the content at will, limited only by energy and economy. Who would do such a thing in complete absence of large scale distributive potential?

Artists can grapple well with this part of the motion picture complex. At some point, however against Industrial wishes, access to technologicalization and (discrete) distribution can be basically assumed. Video has been increasingly dominated by the digital electronic domain for a half century to date. For half that time, almost entirely. What is in play here is the algorithmic standardization of the Zeroth model subset. It is likely one could replace technologicalization - certainly control it - with standardization to wit. All form processes must be attained. Any process under any form of control thus directs creation, control to artistry. Process Zero can be attained natively and broadcast, but is fairly universally further compressed in both raster array and frame matrix, the latter conforming somewhat outside of this construction, here at least, and conforms to the First, technologcialization. (construct Zero synonymous with 'machine encode', lacking general compression) The Second construction, audio synchronization, is dependent on technologicalized local level process of native or sub-native content. Lastly the Third construction relies on the seemingly impossible to achieve standardization of end playback and, obviously, passive viewership (video is non-interactive).

Questioning critically the Zeroth stage is not needed here. Without intraframe processing, viewer and artist or creator are free to express and interpret. It is the First and Third that unscrupulously fix construction so unfavourably to art. The reasons for this are opaque, likely non-existent, likely scientifically provable so. But the spoils, control, clearly favour the progenitor of the technologicalization process constructed for the mass by the Third.

Freeing up the construction process legitimatises video as a art form. This statement cannot be assumed since the Third end point is controlled on the kernal level. Again, 'technology' is already replaced by 'standard'. Even when use is not undermined by competitive practice in construction of systematic process one still require a root of mass adoption. This though possible sans Second construction (slideshow) of what use would that be on a mass platform? Moreover, and sidestepping important technical consideration, ie containment (solvable with subdirectory software architecture), can it even be constituted as a form. It can, except that it no longer resembles mass media form, since there is no scale as it is architecturally driven and can only scale in accordance with are construction into the Third construct.

Cultural instances of this proliferate on-line video today. But, again, motion picturing is not typically represented, except when stylistically or artistically.

This question - could motion be artform with the elimination of Industrial technologicalization hegemony - seems to be best answered once the Second stage is applied and integrated technologically. In stop resynchronization, continuous with 'uncompressed' video (I suspect all video is in fact natively compressed to some degree, possibly electronically) is very linear to represent. So there is a great deal of room for development, almost cliche point in software generally.

Returns seem immediate, non-distinguishable from photography, or any Art for that matter. The potential for objectivity to flourish seems very present. And it would seem to align with photography. Certainly as a comicbook would similarly align with illustration Form.

Perceived returns are not analogous, though, to returns associable with basic intellect. Slideshow technologicalization already proliferates alongside photographic ones. But they are most alignable with performance. It is so open to form that it remains fairly elusive to it.

Movies and TV, video, must be understood as Form to legitimise ulterior motives of the State which proliferates its technology. Private enterprise has much to answer for with some of the guiding practices outlined here. It is hard to imagine not finding some agreement on that. But returns are almost immediately playoff of the constructed ubiquity, a successful technologicalization, however critically, irreversibly flawed. It is the consequences of inaction on this apathy that is a focal point here. Less than a call to arms or manifest for revolt. Much less than that. But isn't the loss of objectivity significant to humanity? Any loss of humanity is, for that matter. While it may be a complex cultural artefact to understand, it is one so nevertheless centrist to mass culture    so    oblique to suffering it can create were routine maintenance of the status quo objectified by taking more than is needed married to the economy of over-productive, competitive practice. Film and video are not mirrors of this society but the seeds it regenerates itself from. That tree is not art. Music, diverted to video formatting to appease its Industry on-line on at least one flagship video site. Photos represented in video clip form. Even on p2p, fully well over half global bandwidth occupied by movie video and porn video. It is not inconceivable even textual sharing could succumb to video formatting. Mass media for the most part presently reduces to book-form, radio-form, with the rest accumulated in digital technologicalization. Books will be ever on-track here, radio singularly to satellite broadcast. These are recent phenomena. Perceived returns of motion technology is founded. Will it be a legacy going forward? And just what is the complexity of multiphotographic slideshow that would require it be contained in video codec at all? That is a answer looking for a problem. 4703041002 (My dated second or third hand 2nd generation mini-smartphone has a fully functional, programmable slideshow for native memory or expanded memory subdirectory playback.)

(In citing video gaming with listed exceptions it is worth clarifying that true motion is produced in the light wave spectrum. Raster tend to generalize towards being categorical temporal imaging. Consider triangulation (vectorize) of photographic pixel arrays along a inert temporal constant and one essentially has a technical temporal photography. As raster graphics do not generalize to this technicality, it is also not generalized to motion. Further complexity is found from animated graphical data containers, some which are popular, probably due to ever-present mass media culture, and so at least here can be ignored.

Another exceptionalism arises when once vector gaming style graphics, or similar graphic, displays on so-called flatscreens. This as opposed to CRT type beam display technology with true vectorization. The existence of triangular-to-pixel (vector2raster) screen dimension process (software or graphics processing unit driven) adds element that qualifies as temporal graphical motion under very strict computer control (kernal level as with 'language'-based architecture).)

Perceived returns motion is caused by temporal photographic mass media. While temporal graphics do not, there can be feedback were, essentially in artistic terms, graphical support is provided to carry photographic data. That in turn can be in temporal motion phase. Are there perceived returns there? One could apply this question outside screen technology, say, product packaging (epaper). Perceived returns is not automated by any perceived motion. The optical induction exists by design, and there is more than one way to alter graphical mosaic. Synthetic reality is the engine that drives perceived returns collected on temporal motion usage, whether or not on human instruction. Perceived returns motion thus a subcategory of synthesis technology. It is a option chosen during design process and is unnecessary in routine technological function. Artificial reality itself is a sub-domain of the simulation essential for basic human inquiry, a contributing model to hyper-analysis of energy (particle collider; weather and climate model).

Technically, the animated graphics counterpart to PRTP (perceived returns temporal photography) is by different design. Objectivity creates an altered state in the mind. It does not require even small faculty of hypnotic induction as the spatial aspect increases.

Latent or not, spatial PRTP could radiate from any surface from which scaled graphic can synthesize (basically a technologicalizaton). Perceived returns depends on viewer interest afterwards, were it rests as a cognitive illusion. Marketing is, in part, the measurement of perceived returns through shopping. Advertising its cognitive interface. Branding, strategically, again only in part, of perceived returns as applied to a static model, instead of the manufactured product of marketing. Its relation to cognition expands into long term memory, although its fans may wrongly assert it is a product of design, which it isn't. Any design is on cognitive manipulation and no inherent nor implied intellect otherwise manifests. It is a weak strategy, though its critics often provide incomplete or weak kneed argument. Perceived returns are not strictly returns, not in the essential literal snese. The feedback between non-existent returns and the graphical perceptions inducing them is successful only temporally through motion or any other distraction producing altered state. Cultural variation would strongly suggest programming PRTP is slightly variable and adjust spatially according to the circumstances of individual viewership.

Diagnostics of PRTP should be easily acquired through a maintenance of individual self-awareness. The maintenance would seek to find remnants of mental projection from both motion sources, objects in the physical world, and optical imagery from the second dimension. The returns themselves would qualify here. Drawing a straight line to effects on judgement, objectivity, follows.

PRTP creates tabula rasa of the mind, clean slate. So it would require not just any imagery. But needed distraction is so wide in scope it might seem that way. Again, perceived returns is a first step. Branding or marketing is just two programs. There are easily others. Even ideas themselves, attempts at altering dream states (high repetition with sensory multiple sourcing), habit formation, and so on. The moment by moment effects can be nearly instantaneous. It almost seems like a sympathetic response to 'feel' what or for what is on the screen. Whatever those returns are, benefiting the viewer to some degree, a alternate party benefits. This could be the State, a government or unaccountable tyranny (corporation), or anyone with a need for control. These returns have objective behind them, a physical entity. After all, the apex strength of the Arts carries return for the observer. Moviehouses had to provide entertainment that was going to be convincing enough that individuals and groups would opt in favour - from street level - of inanimate, silent lights reflecting of that one wall in dark rooms. Motion itself can be that. As its craft progressed, change scaled with ever more of the inanimate. A expansion that continues, the successful program measured by degree of attainment of those kind of objects just referred to.

Radiation amplified to produce this result can escape to at least one other non-vector spectrum. Music can carry very significant returns, scaling even passed or superseding visual arts. This bears a striking resemblance in character to the graphic novel. Naturally in both these cases motion can be represented. Note that moving picture and graphic novel are each themselves visual in nature but tend to use light in different ways, amplified and reflective. Music accompanies the first movies in place of sound track. Television tracked the birth of the Rock and Roll movement in music, expanding the impact it had on its target audience. Music can act as the transient carrier of PMTP during viewing time, taking the load of distraction, freeing up more spatial requirement.

Past all of the variables in ethnicity, genetics, any predisposition, or technical and cultural is the appearance that the depth of success PRTP has had over a protracted period contributing to the more traditional society that come before any attempts to keep Art permanently at bay. Dumbing down people and reducing individual humanity work hand in glove for those seeking to expand power for themselves. It is quite a condemnation of returns, which are in essence forms of psychological attachment. Conformity around lost, or culturally detached loss of humanity accumulate, even accelerate, the effect. In short, without Art, mistakes will be made that could have been easily mitigated. Humans are more individual and artistic than they are singularly social and linguistic. Power can rest assured that however the population gets ahead of any illusory hold, perceived returns motion is very well entrenched in its duty to serve it by its mere existence.

Enabling the impact PRTP has had, the rise of mass media alongside the institutionalization of Art is a part of the conditioning of large groups of people towards a steered direction. That ship captain comes from a line of succession historically characterized, in part, by the exclusion of the Arts. The mechanics of worship, fine. Individual expression in material form, not so fast. What better way forward than to couch Art into a mass media were it cannot exist as such. Art by design is not artistic design, it is design. Actors of the PRTP screen are not artists. Poetry is not Art. Writers of the revolutionary tact who fill stores and libraries with so much revolution one might wonder how we might revolt against revolution itself. They are not Artists, either. In fact, it is routine in press and media to label, artist or art, anything except the visual artist. PRTP is much more than convenience; non-coincidental. Ego, unencumbered by ethics, another obvious enabler. People individually need to volunteer their freedom not to have their temporal existence taken away just as those a few centuries ago in Europe resisted ecclesiastic authority. "Whois to argue against Jesus' representative," one may have said then. How much discourse is perpetuated by today's viral video, "oh did you see the latest," (seeing meaning motion picture) or, "like a movie," "like a teevee show." If there is no ill affect, if it would make no difference whether or not to watch, why not stop? Why subscribe this month at all (consider the now-old cliche "there is never anything good on TV" (even when considering that some cannot afford subscription))? There is nothing free in this life, and PRTP providers do so only because of spatial (material) return. Every TV ad has to be paid for.

Thinking here, that a system of control - objectivity a expressed faculty of intellectual freedom - is not a system of control at all reduces to a lie. And so on either end of any debate on viewership, usually directed at children instead (temporal effects PRTP has on scholastic study), basic freedom, not liberty per se, is lost, certainly abandoned. But being lost of one's humanity is more than a perceived threat. So one perceives no 'problem', like not perceiving loss of liberty to the bishop under Church rule, as one's perceptions are used to create the illusion of community were none exist. Enlightened by comedy but comes from moving pictures. But culture is not at fault by its existence, acceptance of PRTP is. The alternative being the fear of mass death. Individuals who escape the contemporary twin pillars of video and nuclear annihilation (help us all should their be a documentary film about nuclear war) are commonplace. Voice is given to PRTP. Radio programs reinforce its centre, along with magazine, popular and Pop music, anything that has a hold on any mass. The Internet, essentially originating as a science medium, smartphones, smartTV, all conform. Enjoy this magical screen or consider mushroom clouds. Does godliness not lead one away from authority and power? Did it, of course. But to whom but the voiceless. Why should it be different in any society not ad hoc or motived from sacred source (water, soil, air, etc.)? What makes the moving lips on a rim of the blowhole of the emoting actor so sacred? Without art, science becomes military. Mass media is not art. Any confluence understood a perception.

Mass media is not the social change, its source, that emanates from the heart. Does mass media convey threat or dynamic goal were humanity is concerned, survival for example? On the other hand, Art is a racial media, cutting through temporal and spatial divide between discrete peoples. Necessary evil is contended with, endured. To glory in its - the sloth of passivity; gluttonous over-consumption (serial, so-called 'marathons' of movies and TV show, etc.) - is to succumb to its mechanical nature. As quantum mechanics underlies quantum physics, proof is still found in mathematical physics. A racial media like Art render mass media trivial and temporal. The 'darling', 'Star', no artist. For how useful the smartphone where aerial reception is over-limiting to minimal transfer protocol? How useful TV when ninety percent of humanity alive may never see one?

How privileged the content prvider and their 'artist'! (Their dupes.) Non-racial access pits one mass against another. Mass media a corporate managed divide for centres of nuclear capital. Democratic leadership pseudoanarchist actors responsible for playing media role for their particular masses; one mass media style pitted against the other on false grounds. Mass media aglitter in imperial hue. Motion picture its most entrancing to the human condition, to human senses. Harder work, greater weaponry. Stronger governance, increased use of temporal photography.

One is never good enough for display to the mass. One is to cling on to the merry-go-round  of spectacles of death, though not any spectacle of any death. Even the dead are not good enough for the unattainable standard for the gatekeepers.

Human beings as creatures are drawn to collectivization. Around the fire, at the source of water, beer, and mass media. There, the individual or artist or loner or shaman, anyone non-conforming can be unwelcomed. When collecting around the Natural we might express a common survival. It seems that the artificial means amplify more opaque reasoning. Individuality is the corporeal expression of humanity. The 'lone wold' a valued asset. Is it just to exclude? But what is sovereignty. The many and varied conquerors ravage mother nature, spoiled by abundancy to the point of threatening that bounty while voices from her corporeal ecosphere beg for maturity and express responsibility instead. Mass media keep us from becoming one indigenous race, globalism only multi-mass-media. Performance art emerges as the race realizes it is one. This as physical cosmology replaced by its energy grandparent. The Universe includes us now. Cognitive illusions fade away and we cool ourselves around the drinking hole out by the grove or stand of rock. Wondering how we could have been so vane to replace all of this with the moving image of ourselves.
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Tags: ebook

June 30 2015

0172 bc9e
Breeo raises the dildoflag (loop)
0171 9496
Breeo raises the dildoflag

May 07 2015


but...the music industry was never alive to begin with

(EPUB, 12 KB)
Dec20 2001

But ... the music industry was never alive to begin with

- - Anybody familiar with music in the West for the past
forty years might be awaiting a new move in music, ear to
London.  Dare not to mention Seattle, lest one go deaf.  And
I'd be wrong to remiss in not mentioning NYC either which
way.  Every dozen years or so since pop music reared its
head we have been subjected to the new craze; the next big
thing; the latest fad; newest trend; the legion of one hit
wonders.  Much like a miniature paradigm shift, irresistible
fodder for the West's intellects, there is change in the
air.  Of course it's just those kids though, ain't it ? 
Never mind that these kids have enough capital spoils to
make a third world nation blush with envy.  And you have to
look over the fact that in a recession, the bosses of prime
indicators look to these consumers (almighty after the
buck).  But now I must seem too flippant.
- - If it's not stillborn, why then do people continually
demand new ideas from the music industry?  A generation only
lasts just over a decade?  A new sound with a new dress code
with a new set of verbiage with a new set of, very
questionable, heroes.  Maybe a heroine too for good measure,
I don't know.  If you read billboard or et al for a few
months, you can predict the top 100.  The music industry was
truly a paradigm at first, but it is a paradigm for the
stock market, not culture.  Those top 100 gurus all have
plenty of dollar signs next to their names.
- - How can I but not hear it when it comes?  Avoidance is
futile.  Kind of like hookers and street cops.  I'm one of
those 'nut-cases' you see, I prefer to go searching for what
I like rather than swallow what is presented to me.  Nothing
like the hunt, and when you find your prey, man -
indescribable.  I don't like any excuse for culture being
rammed into my head.
- - As a listener specifically, though, I could care less
about capitalist dogma in the music industry.  Frankly, it's
too limiting.  Don't get me wrong, I wouldn't give the top
four, or however many there are, a penny.  But it's what I
hear that I am critical of.
- - It's so absolutely godamn fucking sterile!  Song after
song into album after box set.  Perfectly timed, perfectly
tuned, perfectly performed, no mistakes, everything edited
to the millisecond, must behave like audio robots to the
corporate master.  Just like a laboratory, sterile.  Oh, I'm
sure they're extremely talented and they are all obviously
geniuses of marketing.  But where is the style?  And I am
not referring to their sense of style.  I am referring to
the true sense of style: that which sets one artist's
technique apart from another's.  And that's far more than
the sound of someone's voice and the guitar lick.
- - In music history, to turn to for an answer, there are
two competing forms, the Natural and the Unnatural.  Natural
music is basically formed when instrument makers and
musicians get together with some basic raw materials and put
together musical form from marimba or drum or flute, et
cetera.  Every musical instrument is connected to the
Natural scale.  The Unnatural is born out of a sort of
deconstruction.  It can incorporate everything from
mathematics to harmonic analysis.  The advantage of the
Unnatural form is that it internationalized music in a very
real way.
- - Today, much of the music supported in the music industry
is caught between these two spheres.  The blues is based on
the Natural scale, yet its tension is often drawn from
Unnatural sources.
- - And that's the way instrumental music has practically
disappeared from the mass music consciousness.  In the
struggle to create the genuine article, there is no real
room for exploration of harmony (harmony is just a general
term to describe things like chords and scales and notes). 
So there is only one place to turn, and that's the
historical role music has had (particularly with stringed
instruments, and especially the guitar) in language.
- - But look at how irrelevant harmony has become next to
angst or politics or psychological influences on music.  For
over half a century now, shortly before the newer forms took
over the industry, there was great conflict in musical
theory.  A separation occurred that brought institutional
forms from Europe and planted them on Turtle Island.  This
was not simply a migration.  It was after this occurred that
music became institutionalized, unchanging.  Dead.  Music
could not borrow from it's surroundings anymore.  Music
could only manifest itself through assimilation of other
cultures.  This 'multiculturalism' survives today.  But the
heart is still unchanging European theory.
- - The popular music of the West is not separate from this. 
Instead, the two feed off of each other.  One refines the
technique and technical, even mechanical, side, well the
other finds new cultures to absorb.  Thus, grunge is less a
form as much as it is a monogamous marriage of previous
forms, pop and punk for example.
- - Harmony lacking leaves only one thing left, rhythm.  And
Western music today has rhythm is droves.
- - Understand that I am still only critical of music coming
out of industry because of its lack of soul in its
recordings; its suspect sterility.  Rhythm starts with life
itself and moves into all other things.  But what the
institutions broadly threw out in its entirety decades ago
was the continued development of harmony.  This development
is preserved by a few, usually labeled as 'jazz' or some
other tolerant alternative moniker.  But it's implications
are more far reaching than those spewed out by the music
- - Inquire of any listener of what the music industry sells
as music as to their own personal opinion of Classical music
and it is a surprisingly generic response.  But do people in
the West really understand that Classical music comes from a
short period two hundred plus years ago when the Church
domination of music harmony finally ended?  I know you
probably won't believe this, but the West (as dominated by
the music industry) has not changed all that much from this
point!  The instruments have changed.  Other forms have been
adopted or assimilated.  But the role of institutional
separation hasn't, by in large.  (By the way, dance music is
primary to Natural and pre-Natural music theory. 
Theoretical development aside, its role is always
significant as the ideal starting point for new music.)
- - Foolhardy one would be to equate industry with all
institutions.  Industry merely profit off the excessive
ignorance.  Who is asking what music is anymore?  Instead,
everyone is defining it or trying to 'redefine' music.  Who
in the West asks, "what is aboriginal music"?  Instead, it
is assimilated through scale (institutional), the all wise
"world music" (whatever that is defined as).  Exactly like
the politics of its institutions and the policies of its
industries, the music coming out of West is the ideal
reflection of its institutions and industry, not its people. 
Western music is Eurocentric, of course.  But everything
that isn't sold at large is all one, big category apart from
the industry standards.
- - Is it surprising that there are so few new ideas in
music when those new ideas are in the 'other' category?
- - The exceptions to the standard are not really so
numerous because they cannot be simply commodified. 
Industry does not need to make clear distinctions between
art and sales.
- - Psychologically, one doesn't listen for perfect
structure (often why people are automatically put off but
computer generated music).  One listens for the mistakes. 
So listen and hear: the mistakes are musical equivalents to
the beat as well as the cute melody and the hard, driving
force in song.  The mistake comes from the soul.  Where does
the perfect sterility come from?  Where is the perfect,
linear structure of shape and form in the rapid brush stroke
of the artist's or calligrapher's creation?  If all you can
listen for in music is who else a band or musician sounds
like, you're probably not hearing anything.

- - As in life, so with music.  All does not stop because of
the controlled manipulation of what basically constitutes
old white men in fear of loosing one modicum of power from
being old and white and male.  There are some simple
formulas to work with.  Of course, because it's outside of
institutions and industry, you do have to search for those
- - Structurally, such musical explorers touch on the
diminished chord as a focal point.  There are many
analytical reasons, more historical than mathematical, for
this.  But basically, one can follow this line of logic :
the Unnatural scale, sometimes referred to as the 'major'
scale (not actually a scale but a 'mode', which is an
abstract definition for a broad set of criteria), and the
Natural, or 'minor', are divisions of seven notes (balanced
frequencies arrived at mathematically).
- - Now European music devised this Unnatural structure
(more or less the rough official set of tones).  The full
set of notes is comprised of twelve separate frequencies,
the chromatic set (set of semitones).  All additional notes
are double or half frequencies from the original note,
referred to as an octave.  Each of these seven modal notes
(transformable to scale and chord) are labeled 'A' through
to 'G', respectively.  Thus the A that is one octave 'above'
another A is its exact frequency multiplied by two.  So the
structure is very sound.
- - But the structure is also tenuous, something familiar to
anyone who has listened to unique music from other regions. 
There is no reason why one could not have, say ten rather
than the twelve notes in the chromatic except that there may
be conflicts with the Natural scale now.
- - So we basically have seven notes to deal with.  The Law
of the Music Industry dictates that one only need three
notes upon which to build a song.  This is based on
absorbing basic blues theory.  But it has an interesting
point in it's choice of values, the number three.
- - The seven notes of our scale are of three extremely
significant and unique categories.  Two of those categories
have three notes each, thus one note has a category all it's
- - The first category of three notes are of a Natural,
'minor', distinction.
- - The second category of three notes are of a Unnatural,
'major', distinction.
- - The third category of one note is of a diminished
nature.  Diminish, meaning here essentially to 'lessen' the
space between notes in a harmonic structure.  So if you take
a Natural or Unnatural chord and 'lower' an additional note
on top by a semitone you have basically diminished that note
(although the label 'diminish' has additional criteria).
- - These distinctions are brought about in Western music,
apart from the Law of the Music Industry, as a result of
building harmony and harmonic structures on these root
notes.  This is defined as a chord.  A Natural chord,
therefore, has a 'minor' sound often associated with a more
primitive root, the Unnatural being 'major'.  But what is
the sound of the diminished chord?  This is a question
nobody is willing to explore anymore.
- - Some suggest that the Natural is connected to emotions
like sadness and depth were the Unnatural is sweet and pure. 
Very rightly so, although also a result of part of the
picture.  The diminished note, if I may call it so, is not
treated so fairly.  It is branded, 'wrong', the 'off color
note', and is rarely used, almost never central to a song,
or outright banned from the vast majority of composition in
accordance with the Law of the Music Industry (let me
clarify, it is more precisely the Law of the Music
Establishment, but the parallel stands in Industry as well). 
And yet, there are only seven to choose from.
- - So what's the problem then?  Well, it's not as simple as
incorporating the diminished in with two of the six Natural
and/or Unnatural notes.  That would go well with the Law of
the Music Industry.  It just isn't practical.  The truth is,
the moment one focuses on the diminished, the entire
harmonic structure begins to waver and flux.  The structure
of song is usually altered, the sound and use of acoustic
vibrations and tones begins to devolve.
- - In short, the moment somebody tries to centralize
structure in musical form, they use the Natural (familiar
universally) and the Unnatural (the international form, if
you will).  But once you place the seventh note in, the
structure ceases to function.  Oh, one can force the issue,
I'm sure that's been done to death.
- - What I find so exciting about this apparently grey,
boring discussion is that once a musician begins to
incorporate the diminished note, the seventh note, a very
interesting thing happens to composition.  Suddenly, all of
the other notes are equally welcome.  Rather than dumb down
measures such as the Law of the Music Industry, song
structures and musical structures invited all six other
notes together.  Or not.  Or more, for the diminished also
agrees with the other five notes not in the Natural and
Unnatural scale (the diminished note is a part of the
Natural and Unnatural scale, being the last and seventh
- - The acceptance of this understanding in musical theory,
which is again very, very simple to apply (one of seven
possible choices!) represents no less than the liberation of
music from restrictive compositional structure.  And society
would be better off with it, as would a populace mature in
its thinking by a simple broadening of its horizons.
- - But there are problems with using the diminish note, as
I term it.  For example, there is no real linguistic and
emotional connection to it.  Other cultures, using far more
than twelve notes per octave, are much more accommodating. 
Not so in West from were it comes from.  We have no common
usage words to really describe the diminished sound.

- - Very strong parallels, coincidentally can be found in
another theory from roughly the same region as Classical
music.  Classical music marks the point when Unnatural
theory became accessible to the public due, in part, to
technology like the pianoforte and harpsichord which allowed
mathematical balances to bring together opposing musical
'dialects' (similar to structure based on modes, which I
referred to earlier).  This occurred essentially in Austria,
although other regions in Europe played a vital role, such
as in Germany and Italy (it was in the church where these
'dialects' were kept from the more common public).
- - This theory that I refer to could have been a result of
comparative analysis, primitively, with Classical music
theory or not.  It is the turn of the century theories that
developed what we know of as psychology, or psychological
theory.  I am generally an opponent of psychological theory
because I find some of its critical roots fractured, which
is a serious flaw when claiming to be a methodology for the
treatment of what it terms as disease (something I would
have to go into in great detail to explain, not useful
here).  So in psychology, there is a plausible basis, I
hope, for which its theory begins.  The definition of sanity
and insanity, which is similar in my analogy to Natural and
Unnatural, expanded into the reasoning behind both models -
thus my comparison.
- - It is all too important that I point out that the
European establishment has historically had very central
views towards the Natural and Unnatural theories in music
and how these theories apply to non-musical areas such as
ethnicity, to which I shall elude.  The basic established
view predates even Natural music, which predates Unnatural
theory.  (Natural and Unnatural are well recognized terms in
musical history and general music theory in the West.)  This
is the most universal form of music.  Interestingly, in the
West, it is found frequently in the blues.  It has, for the
sake of analysis, a scale, the pentatonic (five tones, also
the smaller keys on the music keyboard).
- - The establishment in Europe, probably as a result of its
continuous plundering of foreign lands, constantly came
across this scale.  I'm sure at some point, someone in the
European establishment, probably more than one, realized
that two isolated cultures that were themselves isolated
from each other had this scale in their music.  Often, as
almost always the case with limited technological
development (technological development that is often brought
about by warfare and conquest), this scale would be the only
structure in such 'discovered' music (often in the tribal
sense, but still universal).  Thus, it had to be dealt with. 
This is not reason for the development of the Unnatural
scale, it is only one of many motives for its creation in
established Europe, essentially the Church (I won't get into
which Churches, but one could say the Church in pre-
Classical Italy and not be completely off base).
- - Established views became very concrete in how to define
this pentatonic, and by extension Natural (the Natural scale
is the pentatonic plus two notes (one note being the
diminish, the other being the Natural note)).  For the
purposes of basic Musical Law (not really a law), it was
declared, and typically still is to this day, that the
Natural scale is primitive, tribal, and, in the clearest
established dogmatic approach, inferior.  The Natural came
to represent the regions of the world where Europeans became
the conquerors.
- - Unnatural musical theory was and is, therefore, seen as
the essence of what the establishment views as 'true music'. 
It is clearly a European development, but the comparison to
purity is symptomatic of other, more ethnic formulations.
- - The contrast to defining sanity and insanity is
striking, shocking I would say to anyone who understands the
nature of centralized establishments that make any
assumptions along the lines of ethnicity and other such
social lines - even if by extension.  Sanity, clearly, is
the equivalent of the Unnatural.  Insanity, also clear, is
in complete parallel with Natural music.  Again, I making a
fairly sweeping statement here.  But it is essential to our
understanding of the significance of musical theory most
particularly when we examine the complete history of Europe
and the unique contributions it has made to humanity, music
and musical theory being one such example.  There is no
culture I have found that comes quite so close to the
extreme in developing a uniquely centralized yet highly
versatile and universal means of communication and artistic
expression that is found in that of European music.
- - Diminished note type of development is an affront to
just such an established notion.  It not only expands
musical theory into relatively unexplored territory,
certainly in the popular sensibility were music is
concerned, but it also has a clear and obvious purpose.  In
the most general use of diminished note theory, both the
Natural and the Unnatural theory breaks down.
- - I will reiterate that again.
- - Diminished note usage not only breaks down structures
based on establish views, it also breaks down those in the
area of ancient and Natural views.
- - There is no countervailing opposition, no duality, in
the diminished note based theory.  That is for the Natural
and the Unnatural alone.  But to include it respectfully
means the listener must be engaged to pay attention.  And
that is not helpful to the Law of the Music Industry.  In
fact, it's counterproductive to the music industry because
it causes the listener to think even though listening is
essentially a passive experience.
- - The effects of practical application of diminish notes
and its principle use are significant, though singular in
part due to the general lack of exploration.  Of note in my
own exploration has been of a technological nature, although
more deconstructive and simplified.  One thing that happens
with proper, central use of diminished notes is the changes
that occur in how one hears music.  Coming from Western
influences, I have a need for such deprogramming.
- - A standing theory, unique amongst Europeans and their
descendents incidentally, is the theory of perfect pitch. 
Some believe that certain individuals, usually soloists
(note how there is a degree of egotism) and often vocalists,
attain perfect pitch upon birth, a rarity.  That is, the
ability to reach a perfectly tuned note without the
necessarily accompanying instrumentation.
- - Tuning an instrument is a secondary technique.  The
primary technique involved in originating instrumentation is
in the development of perfect pitch itself.
- - Perfect pitch is one of the mathematical mechanics that
allowed Classical music theory to take music out of the
establishment and into the serfdom of some two centuries ago
(it wasn't just churches alone that housed essential
theory).  Perfect pitch allowed for the first time one House
to communicate with, rather than to, another.  This was
traditionally impossible because each House had its own
instrument maker, its own composer, and its own pitch for
tuning its own instruments (truly a centralized social
structure if ever there was one).
- - Perfect pitch is rudimentary Unnatural theory.  But it
is based on analysis in physics (some wavelength theory is
helpful) and mathematics, owing to theory from as far away
from Central Europe as Greece.  The idea that a person can
be born with perfect pitch is kind of like saying a human
could naturally mutate robotic limbs or computer
architecture biologically in the womb.  Perhaps I am being a
little too dramatic.
- - The point is that the Law of the Music Industry and
Perfect Pitch theory obviously go very well together - both
are living in eighteenth century Austria!  (I will not elude
to forms other than Classical, which I am not using strictly
as form but period.)
- - What is interesting is the degree to which those in the
West have adopted their listening habits to perfect pitch. 
Much of the music out of the Asian region of the continent
uses quarter tones (half a semitone), or there about.  And
that is my point.  How does one deprogram oneself from
perfect pitch, retaining its essence, and move into
expanding the musical vocabulary to include different
approaches to tuning?
- - Practically speaking, though diminished theory
qualifies, it too breaks down because it relies very heavily
on a degree of perfect pitch as it is continually
interacting with the other six tones (an alternate name in
theory ascribed to the diminish note is Leading Note, that
is its tendency to Lead into melody).
- - So I turned to the guitar for a solution.  There too, I
found a problem.  As the strings of such a stringed
instrument stretch, their tuning is altered.  Eventually,
certain notes in regions of the fret board become
unplayable.  This can be easily adjusted through retuning,
but puts certain limitations on performance.  As the string
is tuned to play notes from one part of the fret board, the
other part or parts are too far out of range.  But it's not
impossible, it's only a limitation.  I needed a solution
- - Most guitarists, I'm no exception, regularly replace
their strings.  There is a very key subtext here in that as
I write in generalities, I am writing about universal
application.  But I am taking diminished notes and using a
deconstruction of perfect pitch to enter a very practical
- - Resulting in the need to not, I write, not replace the
strings on a typical six-string guitar, (again, found in
economic virtues inherent in the blues) I accomplished a
more critical goal.  Practical application of advanced,
unestablished (institutional) view, theory, and practice. 
But the real gem here is that with extensive compositional
technique, I no longer need to replace my strings and that
this lack of replacing strings is the method for advancing
diminished note theory (not to mention the cost saved from
not throwing more metal into a landfill - as a thought
experiment, imagine how much metal (typically platinum,
zinc, copper, steel ...) is thrown out by all of today's
- - This might be irrelevant in a non-Eurocentric setting
where instruments are designed to accommodate this essential
mechanical flaw in the calibration of metallic instrument
strings through practical necessity.  But retaining
Classical theory is absolutely essential to musical

May 01 2015


The Complete Voltairine de Cleyre Record epub

(EPUB, 515 KB)
Everything Voltairine deCleyre in one ebook
EPub 527104bytes
Reposted byanarachy anarachy

The Complete Voltairine de Cleyre Record

(TXT, 1.29 MB)
Everything Voltairine deCleyre in one ebook

Reposted byanarachy anarachy

April 07 2015

3215 7844
June4 1998 "microanimation"
5342 617b
(March10 1998) "t"

March 27 2015


March 11 2015

7288 93a2 500

#bytesofchina - This #internetcafe in rural #guizhou, china is the single source of income for a family. After the husband was injured in a work accident that left him paralyzed from the waist down in 2005, the wife had to find a way to support their two children. A friend suggested she build an #internetcafe. When she first opened it in 2008, she was averaging 3,000¥ ($500) per month. She said they the cafe used to be full of children playing games and people watching movies. But in recent years, mobile internet made it to this region. People now play games and watch movies on their smartphones instead of the Internet cafe. As a result, she is now only able to make around 100¥ ($17) per month on the cafe. The other source of income is her husband’s disability payment of 100¥ per month. Her two kids have borrowed money to study at local technical schools. Since she doesn’t have a permit to run the cafe, her relatives, who work inside the local government alerts her when county police come into town. As mobile internet coverage and smartphone use have rapidly increased over the last 5 years, Internet cafes are slowly disappearing around the country. It’s fascinating to learn that the economics of maintaining a cafe in rural areas are less feasible now as people are spending more time on personal devices. It’s quite possible these spaces will become a relic of the pre-smartphone age in China. #livefieldnote #triciainchina

Reposted fromtriciawang triciawang

March 04 2015


Pauling c1931 - The Nature of the Chemical Bond

(EPUB, 1.06 MB)
Pauling c1931 - The Nature of the Chemical Bond.epub

2bit compression

March 02 2015

0696 9730
Reposted frommasters masters viasstefania sstefania

February 16 2015



(EPUB, 494 KB)

February 01 2015

2059 d9f1
Reposted fromclitoris clitoris viasstefania sstefania
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