- Jun 2024
-
Local file Local file
- Apr 2024
-
www.derstandard.de www.derstandard.de
-
Seit dem 7. März 2022 – seit genau einem Jahr – werden an über der Oberfläche des Nordatlantik Rekordtemperaturen gemessen, seit dem 14. März über den Weltmeeren insgesamt. Auch der Standard-Artikel geht auf verschiedene Erklärungsversuche (u.a. weniger Schiffsemissionen, El Niño, Vulkanausbruch) ein, die aber nicht ausreichen, um das Ausmaß der Anomalie zu verstehen. Der Meeresspiegel steigt derzeit auch wegen der Ausdehnung durch Erwärmung um 5 cm pro Jahrzehnt. https://www.derstandard.at/story/3000000210458/weltmeere-verzeichnen-au223ergew246hnliche-w228rmerekorde
Chart bei Climate Reananalyzer: https://climatereanalyzer.org/clim/sst_monthly/
Tags
- Anders Levermann
- Potsdam Institute for Climate Impact Research
- Helge Gößling
- Climate Reanalyzer
- Alfred-Wegener-Institut
- El Niño
- 2024-03-06
- Mojib Latif
- Geomar-Helmholtz-Zentrum für Ozeanforschung
- Brian McNoldy
- topic: temperature records
- sea surface temperature
- Leon Simons
- WMO
- North Atlantic
Annotators
URL
-
-
www.theguardian.com www.theguardian.com
-
Der Bericht des Copernikus Climate Change Service über 2023 ist lact Direktor Carlo Buontempo "ein dramatisches Zeugnis dafür, wie weit weil wir uns von dem Klima entfernt haben, in dem sich die menschliche Zivilisation entwickelt hat". Viele Kimaforschende waren davon überrascht, wie deutlich die Temperaturrekorde des Jahres 2023 über denen der vorangegangenen Jahre lagen.Auch Zahl und Ausmaß von Extremwetterereignissen übertrafen die Erwartungen. https://www.theguardian.com/environment/2024/jan/09/2023-record-world-hottest-climate-fossil-fuel
Mehr zu den Copernicus-Daten für 2023: https://hypothes.is/search?q=tag%3A%22Global%20Climate%20Highlights%202023%22
-
-
www.jonalexander.net www.jonalexander.net
-
for - book - Citizens - foreward - Brian Eno
-
The new story becomes an invisible force which pulls us forward.
for - stories - salience of adjacency- imagination - stories - futures - Ernest Becker - self - timebinding - symbolosphere - quote - Brian Eno - book - Citizens - Jon Alexander - Arian Conrad - citizens - not consumers
quote - Brian Eno
- The stories we tell
- shape how we see ourselves, and
- how we see the world.
- When we see the world differently,
- we begin behaving differently,
- living into the new story.
- When Martin Luther King said
- “I have a dream,”
- he was
- inviting others to dream it with him,
- inviting them to step into his story.
- Once a story becomes shared in that way,
- current reality gets measured against it and
- then modified towards it.
- As soon as we sense the possibility of a more desirable world,
- we begin behaving differently,
- as though that world is starting to come into existence,
- as though, in our minds at least, we’re already there.
- we begin behaving differently,
- The new story becomes an invisible force which pulls us forward.
- By this process it starts to come true.
-
Imagining the future makes it more possible.
-
Sometimes this work of imagination and storytelling is about the future,
- as in Dr King’s story.
- Art can play this role:
- what is possible in art becomes thinkable in life.
- We become our new selves first in simulacrum, through
- style and
- fashion and
- art,
- our deliberate immersions in virtual worlds.
- Through them we sense what it would like
- to be another kind of person
- with other kinds of values.
- We rehearse new
- feelings and
- sensitivities.
- We imagine other ways of thinking about
- our world and
- its future.
- We use art to model new worlds so that
- we can see how we might feel about them.
comment - This is a really powerful writing from Brian Eno. - Storytelling is an exercise in - the imagination of alternative possibilities to our own reality. - Stories can become both - inspirational and - aspirational - They can paint a picture in our mind of - a fantasy - a world that does not yet exist - but that nonexistent but desirable reality can then serve as the goal for which we strive - Mapping Futures interventions is then, essentially an act of desirable, inspirational make believe, and mustering the resources to turn the fantasy into reality - Progress relies on design, the imagination of unrealities in vivid detail, - in order to turn them into realities - In doing this, it is not an act carried out in ivory towers, - but in the everyday life of every one of us - We are all engaged in desirable fantasies daily whenever - we decide what meal we will prepare or restaurant to dine at - which clothing outfit to wear today - what we plan to write or say next to another - Every decision we make as a choice between different future alternatives - When it comes to planning major future decisions, - we need to have as much detail as possible of the imagined future - The Town Anywhere project conceived by Ruth Ben-Tovin and employed in the Transition Town movement for many years fis an example of such a simulacrum - https://hyp.is/mqeCtAE_Ee-Yxleqg7GFww/docdrop.org/video/cRvhY4S94ic/ - It provides an artistic space for citizens to imagine a desirable fantasy that can be embodied, enacted and deeply remembered through the participatory and collective citizen act of creating a proxy of their future local habitat in the present, and exploring and momentarily inhabiting their simulacrum. - In this way, this compelling experience is like a branding iron, searing the memory deep into our memory, where it can help guide our actions to realize the desirable fantasy. - Couched within a citizen's FREEligion and FREElosophy we generically call Deep Humanity, an open source, open knowledge approach to universal raison d'etre for what it deeply means to be human, Town Anywhere can scale to fire up the imagination of citizens to co-create our collective future. - Town Anywhere, along with other citizen initiatives which I belong to that advocate healthy citizen power such as SONEC, Stop Reset Go, Deep Humanity, the Indyweb, Living Cities Earth and many, many others can emerge a human murmuration to drive the transition - https://hyp.is/go?url=https%3A%2F%2Fleemor.medium.com%2Fmesmerized-by-the-murmuration-on-human-potential-f4c9ffe06ffa&group=world - As Jon Alexander and Arian Conrad write here, we have to find the narratives that matter to us, where WE is the citizens. Other thinkers like Jose Ramos write along the same line: - https://hyp.is/go?url=https%3A%2F%2Foff-planet.medium.com%2Fdiscovering-the-narratives-that-matter-to-us-327958a2daec&group=world
- The stories we tell
-
-
docdrop.org docdrop.org
-
for - Town Anywhere - Transition Town - town anywhere - Ruth Ben-Tovim - Deep Humanity BEing journey - TPF - Town Anywhere BEing journey - LCE - Town Anywhere - adjacency - rapid whole system change - futures - town anywhere - SONEC
summary - Town Anywhere provides a simulacrum, as Brian Eno talks about in the forward to Jon Anderson & Arian Conrad's book Citizens - https://hyp.is/m_HuigEvEe--6UdGv2HVDA/www.jonalexander.net/the-foreword
Summary - This is a
Tags
- TPF - Town Anywhere
- LCE - Town Anywhere
- Ruth Ben-Tovim
- Brian Eno - book - Citizens - foreward
- adjacency - rapid whole system change - futures - town anywhere - Deep Humanity - BEing journey - TPF - SONEC - neighborocracy
- Deep Humanity - BEing journey
- Town Anywhere
- Transition Town - town anywhere
Annotators
URL
-
- Mar 2024
-
www.theguardian.com www.theguardian.com
-
Die Gründe der Temperaturanomalien des vergangenen Jahres und auch des vergangenen Februars sind nach wie vor klimawissenschaftlich nicht geklärt. Die Temperatursteigerung blieb auch angesichts Treibhausgasgehalts der Atmosphäre und des inzwischen abklingenden El Niño innerhalb des Bereichs der Vorhersagen, aber ihr Tempo war statistisch gesehen extrem unwahrscheinlich. Der Guardian-Artikel enthält Statements mehrerer Klimaforschender dazu. https://www.theguardian.com/science/2024/mar/16/scientists-divided-record-heat-acceleration-climate-crisis
Tags
- expert: Carlos Buontempo
- region: North Atlantic
- expert: Raúl Cordero
- expert: Carlos Nobre
- Celeste Saulo
- institution: WMO
- by: Jonathan Watts
- by: Tural Ahmedzade
- institution: Copernicus
- anomaly: sea surface temperature
- region: global
- process: global heating
- expert: Brian McNoldy
- time: 2024-02
- expert: Zeke Hausfather
Annotators
URL
-
-
www.nytimes.com www.nytimes.com
-
Das Tempo der Temperaturerhöhung an der Oberfläche der Ozeane ist auch für erfahrene Forschende schockierend. Besonders hoch ist es im Nordatlantik, dessen Erwärmung zu schwereren Hurricans führen könnte. Aber auch der Südatlantik und damit das antarktische Meereis sind betroffen. Die Ursachen sind nicht geklärt; das El Niño-Phänomen reicht zur Erklärung nicht aus. Es könnten Feedback-Mechanismen eine Rolle spielen. Die New York Times hat mehrere Wissenschaftler befragt.
https://www.nytimes.com/2024/02/27/climate/scientists-are-freaking-out-about-ocean-temperatures.html
-
- Dec 2023
-
www.bstephen.me.uk www.bstephen.me.uk
-
There will be errors in MESON – those I have copied from books, magazines and the card collections I have access to, those I have copied from the other free online databases and those I have perpetrated myself. If you find an error, do contact me about it, quoting the problem ids (PIDs).
MESON is comprised in part of card index collections of chess problems and puzzles.
-
http://www.bstephen.me.uk/meson/meson.pl?opt=top MESON Chess Problem Database
Compiled using a variety of sources including card indexes.
found via
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>As for the Pirnie collection, not counted it, but I am slowly going through it for my online #ChessProblem database: https://t.co/eTDrPnX09b . Also going through several boxes of the White-Hume Collection which I have.
— Brian Stephenson (@bstephen2) August 5, 2020
-
-
twitter.com twitter.com
-
Brian Stephenson@bstephen2·Aug 5, 2020As for the Pirnie collection, not counted it, but I am slowly going through it for my online #ChessProblem database: http://bstephen.me.uk/meson/meson.pl?opt=top… . Also going through several boxes of the White-Hume Collection which I have.
-
- Nov 2023
-
www.nytimes.com www.nytimes.com
-
In den USA wurde in Anwesenheit des Energieministers, die erste große kommerzielle Fabrik zur Direct Air Capture also der direkten Entnahmevon CO2 aus der Atmosphäre, eröffnet. Die Biden-Administration fördert diese Technologie mit enorm hohen Beträgen. Die Kosten für den Entzug einer Tonne CO2 aus der Atmosphäre in der neuen Anlage werden auf 600 bis 1000 Dollar geschätzt https://www.nytimes.com/2023/11/09/climate/direct-air-capture-carbon.html
-
-
www.littlebrown.com www.littlebrown.com
-
Merchant, Brian. Blood in the Machine: The Origins of the Rebellion Against Big Tech, 2021. https://www.hachettebookgroup.com/titles/brian-merchant/blood-in-the-machine/9780316487740/.
-
- Oct 2023
-
londonrealtv.libsyn.com londonrealtv.libsyn.com
-
Is this the same/similar to the (now missing) interview on YouTube (https://www.youtube.com/watch?v=2ueMHkGljK0)?
See notes at: https://hypothes.is/a/NhpRyjhEEe2Yu8s-XRsrrQ
compare with https://londonreal.tv/robert-greene-power-seduction-war/# which looks like the embedded video is also missing.
-
-
www.wired.com www.wired.com
- Sep 2023
-
phys.org phys.org
-
Die Anzahl tropischer Stürme, die sich schnell intensivieren, bevor sie das Land erreichen, hat sich in den letzten 40 Jahren verdreifacht. Der Hurrikan Itdlia hat möglicherweise am schnellsten von allen bisher bekannten Stürmen verstärkt, weil er seine Energie aus extrem warmem Wasser bezieht. Diese Verstärkung lässt sich der globalen Erhitzung zu schreiben, auch wenn die Zahl der Stürme durch sie nicht zunimmt. https://phys.org/news/2023-08-idalia-potent-intensely-rocket-fuel.html?utm_source=nwletter&utm_medium=email&utm_campaign=daily-nwletter via La Repubblica
-
- Aug 2023
-
www.pewresearch.org www.pewresearch.org
-
there is a disconnect between the long period of evolution that honed our humanity and the short period of rapid technology change we are facing.
- for: progress trap, quote, quote - progress trap, quote Brian Southwell, Science in the Public Sphere Program, RTI International
-
quote
- We are likely to make some gains in personal health, are likely to face some collective concerns in terms of environmental health and
- are not likely to cope with the alienation and despair that is a part of a life lived largely online.
- In the latter case, there is a disconnect between the long period of evolution that honed our humanity and
- the short period of rapid technology change we are facing.
-
author: Brian Southwell
- director, Science in the Public Sphere Program, RTI International
-
-
docdrop.org docdrop.org
-
the victims that suffer under over consumption over 00:10:38 depletion and environmental degradation they don't really have a say so we want a fair World At Large we need to start with Fair countries and with Fair countries the prerequisite is fair cities what's needed here too is direct 00:10:51 mechanisms by which they're people can have their voices heard can hold Elites accountable and fundamentally have an opportunity to partake in the designing of the rules of the institutions and of 00:11:05 the outlying sort of overarching structures of their cities and therefore we move from cities to countries and countries to the World At Large
- for: TPF, cosmolocal, community as building block, city as building block, W2W, quote, quote - Brian Wong, citizen assemblies, bottom-up strategy
- paraphrase
- quote
- the victims that suffer under over consumption over depletion and environmental degradation don't really have a say
- so we want a fair World
- At Large we need to start with Fair countries
- and with Fair countries the prerequisite is
- fair cities
- what's needed here too is direct mechanisms by which
- the people can have their voices heard
- can hold Elites accountable and
- fundamentally have an opportunity to partake in the designing of
- the rules of the institutions and
- of the outlying sort of overarching structures of their cities and therefore
- we move from cities to countries and
- from countries to the World At Large
-
-
link.springer.com link.springer.com
-
-
for: gene culture coevolution, carrying capacity, unsustainability, overshoot, cultural evolution, progress trap
-
Title: The genetic and cultural evolution of unsustainability
-
Author: Brian F. Snyder
-
Abstract
- Summary
- Paraphrase
- Anthropogenic changes are accelerating and threaten the future of life on earth.
- While the proximate mechanisms of these anthropogenic changes are well studied
- climate change,
- biodiversity loss,
- population growth
- the evolutionary causality of these anthropogenic changes have been largely ignored.
- Anthroecological theory (AET) proposes that the ultimate cause of anthropogenic environmental change is
- multi-level selection for niche construction and ecosystem engineering.
- Here, we integrate this theory with
- Lotka’s Maximum Power Principle
- and propose a model linking
- energy extraction from the environment with
- genetic, technological and cultural evolution
- to increase human ecosystem carrying capacity.
- Carrying capacity is partially determined by energetic factors such as
- the net energy a population can acquire from its environment and
- the efficiency of conversion from energy input to offspring output.
- These factors are under Darwinian genetic selection
- in all species,
- but in humans, they are also determined by
- technology and
- culture.
- If there is genetic or non-genetic heritable variation in
- the ability of an individual or social group
- to increase its carrying capacity,
- then we hypothesize that - selection or cultural evolution will act - to increase carrying capacity.
- Furthermore, if this evolution of carrying capacity occurs
- faster than the biotic components of the ecological system can respond via their own evolution,
- then we hypothesize that unsustainable ecological changes will result.
-
Tags
- The genetic and cultural evolution of unsustainability
- evolution of polycrisis
- Brian F Snyder
- gene-culture coevolution
- niche construction
- cumulative cultural evolution
- evolution of our polycrisis
- Anthroecological theory
- progress trap - cultural evolution
- evolution of the anthropocene
- conscious cumulative cultural evolution
- human niche construction
- AET
- unsustainability
- progress trap
Annotators
URL
-
- Jul 2023
-
docdrop.org docdrop.org
-
Corruptible: Who Gets Power and How it Changes Us
- Source
- Big Think interview
- Book Title
- Corruptible: Who Gets Power and How it Changes Us
- Book Author
- Brian Klaas
- Source
-
-
www.theguardian.com www.theguardian.com
-
Der Nordwesten der USA ist von einer Serie von Überflutungen nach starken Regenfällen betroffen. Gleichzeitig werden für verschiedene Teile der USA Hitzewellen vorausgesagt https://www.theguardian.com/us-news/2023/jul/10/us-weather-floods-heatwave-climate-crisis-alerts
-
-
www.theguardian.com www.theguardian.com
-
Die Beschlüsse der Konferenz der Welt-Schifffahrtsorganisation MPI zur Dekarbonisierung der Schifffahrt genügen nicht, um die Ziele des Pariser Abkommens zu erreichen. Man will die Emissionen bis 2030 um mindestens 20% reduzieren und „um 2050" emissionsfrei sein. Ein Beschluss zu einer Abgabe –zur Finanzierung der Dekarbonisierung armer Länder – wurde aufgeschoben.
Mehr zu der Konferenz zur Dekarbonisierung der Schifffahrt: https://hypothes.is/search?q=tag%3A%22event%3A%20MEPC%2080%22
-
- Mar 2023
-
www.nytimes.com www.nytimes.com
-
Two years later, he produced Mr. De Palma’s comic drama about a disfigured composer who sells his soul, “Phantom of the Paradise,” which has become a cult favorite.
-
- Feb 2023
-
Local file Local file
-
Logging some keywords here for later cross referencing.
-
- Jan 2023
-
s3.amazonaws.com s3.amazonaws.com
-
https://s3.amazonaws.com/plan9-bell-labs/7thEdMan/index.html<br /> Unix Seventh Edition Manual
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Brandon Rhodes</span> in Semantic Linefeeds (<time class='dt-published'>12/27/2022 11:35:19</time>)</cite></small>
-
-
rhodesmill.org rhodesmill.org
-
Hints for Preparing Documents Most documents go through several versions (always more than you expected) before they are finally finished. Accordingly, you should do whatever possible to make the job of changing them easy. First, when you do the purely mechanical operations of typing, type so subsequent editing will be easy. Start each sentence on a new line. Make lines short, and break lines at natural places, such as after commas and semicolons, rather than randomly. Since most people change documents by rewriting phrases and adding, deleting and rearranging sentences, these precautions simplify any editing you have to do later. — Brian W. Kernighan, 1974
—Brian W. Kernighan, 1974 “UNIX for Beginners” [PDF] as Bell Labs Technical Memorandum 74-1273-18 on 29 October 1974.
For easier editing and reuse of sentences, or even portions of lines of text, one can (and should) write sentences or sentence fragments on their own lines in digital contexts.
This way future edits or the ability to more easily cut and paste will far easier in addition to keeping your version control files simpler and easier to read and visually track your changes. (That is in many version control systems, instead of a change appearing to affect an entire paragraph, it will only show on the single line that was changed thereby making the change easier to see.)
This particular affordance may be a particularly useful one for note takers who expect to regularly reuse their notes in other contexts. Many forms of software (including Tex, LaTeX, and even markdown) will autowrap newlines so that a sentence broken up into clauses on multiple lines will properly wrap back into a proper looking single line when printed. Take care that in many Markdown versions adding two spaces at the end of a line will automatically create a newline in your text.
-
-
www.wired.com www.wired.com
-
Storytelling Will Save the EarthEmotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action.
!- Title : Storytelling Will Save the Earth Emotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action. - See related story: Brian Eno – "We need the creative industry to help inspire climate action" https://hyp.is/go?url=https%3A%2F%2Fwww.imperial.ac.uk%2Fnews%2F241832%2Fbrian-eno-we-need-creative-industry%2F&group=world
-
-
www.imperial.ac.uk www.imperial.ac.uk
-
Brian Eno – "We need the creative industry to help inspire climate action"
!- Title : Brian Eno – "We need the creative industry to help inspire climate action"
-
-
logseq.bmannconsulting.com logseq.bmannconsulting.com
- Dec 2022
-
adjacentpossible.substack.com adjacentpossible.substack.com
-
There’s an old joke about the Velvet Underground that I think is attributed to Brian Eno: only thirty thousand people bought the first VU album, but everyone who bought it went on to form their own band.
-
-
www.newyorker.com www.newyorker.com
-
https://www.newyorker.com/magazine/2014/07/07/ambient-genius
It's not stated in the piece, but there's a hint of Brian Eno as a lone genius within music, but the piece explicitly explores his own creative practices and collaborations which go toward creating his creativity and genius by way of his path through music.
-
“I have a trick that I used in my studio, because I have these twenty-eight-hundred-odd pieces of unreleased music, and I have them all stored in iTunes,” Eno said during his talk at Red Bull. “When I’m cleaning up the studio, which I do quite often—and it’s quite a big studio—I just have it playing on random shuffle. And so, suddenly, I hear something and often I can’t even remember doing it. Or I have a very vague memory of it, because a lot of these pieces, they’re just something I started at half past eight one evening and then finished at quarter past ten, gave some kind of funny name to that doesn’t describe anything, and then completely forgot about, and then, years later, on the random shuffle, this thing comes up, and I think, Wow, I didn’t hear it when I was doing it. And I think that often happens—we don’t actually hear what we’re doing. . . . I often find pieces and I think, This is genius. Which me did that? Who was the me that did that?”
Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.
-
In the liner notes of “Ambient 1: Music for Airports” (1978), Eno wrote, “Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.”
-
In 1978, he started to use the term “ambient music”: the concept stretched back to describe “Discreet Music” and the work of earlier composers, like Satie, who coined the term “furniture music,” for compositions that would be more functional than expressive.
-
Eno’s strategies don’t always appeal to the musicians he works with. In Geeta Dayal’s book about the album, also titled “Another Green World,” the bassist Percy Jones recalls, “There was this one time when he gave everybody a piece of paper, and he said write down 1 to 100 or something like that, and then he gave us notes to play against specific numbers.” Phil Collins, who played drums on the album, reacted to these instructions by throwing beer cans across the room. “I think we got up to about 24 and then we gave up and did something else,” Jones said.
Example of Brian Eno using combinatorial creativity using cards to generate music.
This sounds similar to a process used by Austin Kleon which I've noted before.
-
Eno was moving toward a music that changed your perception of the space around you. Geography could be as memorable as melody.
ways to link this to oral traditions in music and memory?!?
-
Both albums are perverse, slightly agitated, and playful, with many of the lyrics generated randomly and cut together from various sources (mostly Eno’s own notebooks).
Brian Eno had a notebook-based practice of some sort.
-
“I thought that art schools should just be places where you thought about creative behavior, whereas they thought an art school was a place where you made painters,” he said later.
We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.
-
At Ipswich, he studied under the unorthodox artist and theorist Roy Ascott, who taught him the power of what Ascott called “process not product.”
"process not product"
Zettelkasten-based note taking methods, and particularly that followed by Luhmann, seem to focus on process and not product.
-
Behind Eno stand John Cage, Marcel Duchamp, and Erik Satie, but those guys didn’t make pop records.
-
As he told Keyboard, in 1981, “Any constraint is part of the skeleton that you build the composition on—including your own incompetence.”
-
Eno is widely known for coining the term “ambient music,”
Tags
- geography
- research methods
- neologisms
- examples
- memory and geography
- serendipity
- Another Green World
- art school
- process
- 1978
- Roy Ascott
- music
- ambient music
- creative behavior
- lone genius myth
- random walks
- zettelkasten for art
- ghost in the machine
- wordnik
- Erik Satie
- incompetence
- memory
- read
- generative art
- note taking
- Percy Jones
- generative music
- Geeta Dayal
- iTunes
- education
- constraints
- creativity
- zettelkasten for music
- notebooks
- hw-ambient music
- furniture music
- Brian Eno
- quotes
- zettelkasten
- avant-garde
- definitions
- orality and memory
- experimental art
- John Cage
- genius
- surprise
- art
- conversation partners
- Niklas Luhmann's zettelkasten
- random card generator
- combinatorial creativity
- Phil Collins
- writing process
- Marcel Duchamp
- process not product
Annotators
URL
-
- Nov 2022
-
stoney.sb.org stoney.sb.org
-
http://stoney.sb.org/eno/oblique.html
Digital version similar to WTFEngine.
-
-
www.oblique-strategies.com www.oblique-strategies.com
-
https://www.oblique-strategies.com/
A web-based version similar to WTFEngine.
-
-
www.enoshop.co.uk www.enoshop.co.uk
-
www.youtube.com www.youtube.com
-
https://www.youtube.com/watch?v=pRc7MUybCsE
Interview with BBC in which Brian Eno discusses the origin of his Oblique Strategies with Peter Schmidt.
-
Changing the order in which you do things. —Brian Eno, Oblique Strategies
This sounds like the sort of shift Walter Murch made in his sound editing by doing his first cut completely without sound. If you can't tell the story visually without sound the whole thing will fall apart. But you can use the sound, music, etc. to supplement, gild, and improve a picture.
-
-
www.openculture.com www.openculture.com
-
en.wikipedia.org en.wikipedia.org
-
https://en.wikipedia.org/wiki/Oblique_Strategies
So much to unpack here.
Similar to experiments I've seen by Henry James Korn (esp. The Pontoon Manifesto), John Irwin, etc.
Similarities to means of forcing Llullan combinatorial creativity, but in alternate form.
-
-
en.wikipedia.org en.wikipedia.org
-
-
In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice.
Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.
Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.
We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.
In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.
see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/
Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).
-
At one point, Eno had to earn money as paste-up assistant for the advertisement section of a local paper for three months. He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends.[12]
One moment this article describes Eno as eschewing conventional jobs, but then describes him going back to two different ones. The second one as an electronics dealer is at least tangential to his music/sound career and may have helped give him some tools for operating in the space which he wanted to be.
-
Whilst at school, Eno used a tape recorder as a musical instrument[17]
I personally did something akin to this when I was a child sometime between 9 and 12 with our family tape recorder. Did I do so because it was simply a creativity tool, which is generally how I used it, in my environment, or had Brian Eno and others' influences seeped into the culture encouraging this? Where does zeitgeist start and stop?
-
In the mid-1970s, he co-developed Oblique Strategies, a deck of cards featuring aphorisms intended to spur creative thinking.
Tags
- creativity catalysts
- deepfakes
- generative music
- zeitgeist
- kaleidoscopes
- biographies
- generative fiction
- creativity
- tape recorders
- Brian Eno
- generative media
- music
- experimental fiction
- Keanu Reeves
- thought nucleation
- art
- generative film
- TikTok
- career advice
- catalysts
- day jobs
- Oblique Strategies
- combinatorial creativity
- conventional jobs
- tools for thought
- generative art
- aphorisms
Annotators
URL
-
-
-
A few years ago I came up with a new word. I was fed up with the oldart-history idea of genius - the notion that gifted individuals turn up out ofnowhere and light the way for all the rest of us dummies to follow. Ibecame (and still am) more and more convinced that the importantchanges in cultural history were actually the product of very large numbers of people and circumstances conspiring to make something new. Icall this ‘scenius’ - it means ‘the intelligence and intuition of a whole cultural scene’. It is the communal form of the concept of genius. This word isnow starting to gain some currency - the philosopher James Ogilvy uses itin his most recent book.
Book Source: Eno, Brian. A Year With Swollen Appendices: Brian Eno’s Diary. 1st edition. London: Faber & Faber, 1996. Section: A Letter to Dave Stewart, p 354
Cross reference quote and further usage/refinement of the word from popular blog post by Kevin Kelly Scenius, or Communal Genius: https://hypothes.is/a/SgYqomnBEe2_Yaf4i1JnCg
Tags
Annotators
-
-
-
Scenius is like genius, only embedded in a scene rather than in genes. Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes” can occasionally generate. His actual definition is: “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.”
-
-
theinformed.life theinformed.life
-
I think that there’s also the kind of what Brian Eno called scenius, that there are times like Xerox PARC in the 1970s or Florence during the Renaissance when there are just a number of people in contact with each other, and their ideas spark each other. And again, it’s a matter of building on what has been done before.
Definition of scenius, a portmanteau of scene and genius, meaning roughly the output of combining the ideas of zeitgeist with combinatorial creativity to create sustained output which might be considered genius level work.
Generally it gives more credit to the people and time than is generally seen in other instances which are often frame as lone genius.
My definition may be more complex and nuanced than that of the version coined (?) by Brian Eno.
-
- Oct 2022
-
stevenberlinjohnson.com stevenberlinjohnson.com
-
The Engelbart story is also a wonderful case study in collaborative innovation, and the strange tendency of certain places at certain moments in time to produce a disproportionate number of new ideas:A few decades ago, the musician and artist Brian Eno coined a term to describe the collective IQ of creative hubs at their peak: Florence in the 1500s, Harlem in the 1920s. He called that group creativity “scenius”.
-
- Jun 2022
-
briansunter.com briansunter.com
-
https://briansunter.com/graph/#/page/logseq-social
Brian Sunter (twitter) using Logseq as a social network platform.
What simple standards exist here? Could this more broadly and potentially be used to connect personal wikis, digital gardens, zettelkasten, etc?
Note that in this thread Dave Winer asks about how it can be tied into other standardized pieces to interconnect?
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>How can I hook my outlines into your net if I’m not running Logseq?
— dave.rss (@davewiner) June 13, 2022
-
-
www.linkedin.com www.linkedin.com
-
sites.google.com sites.google.com
-
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Boaz Barak</span> in Brian Conrad takes down the CMF – Windows On Theory (<time class='dt-published'>06/01/2022 21:35:06</time>)</cite></small>
-
-
windowsontheory.org windowsontheory.org
- Jan 2022
-
deadline.com deadline.com
-
Wish the interviewer could have gotten more out of Cox here. Sad that there's a book's worth of material and most of the text is the interviewer's questions which at best tease the book.
-
“To me, the nature of the actor’s life is that we do the job, we do the best we can, and move on.”
-
- Jul 2021
-
austinkleon.com austinkleon.com
-
I read that Brian Eno does something similar: he makes a tremendous amount of music, and then hits shuffle when he’s answering email, etc., and whatever catches his ear, he investigates.
-
- Mar 2019
-
www.newyorker.com www.newyorker.com
-
Where did the seeming surplus of emotionality that we see on the Internet come from, and what might it become?
This particular line resonates with what happens in Crypto-land, I think. For a couple of reasons: Crypto-land itself is largely constituted of online interactions. Secondly, crypto-land is nothing if not overflowing with a “surplus of emotionality”. Perhaps this is why we see an overlap of communities interested in Trumpian politics and ideas, and cryptocurrencies. They might be interested or attracted to the same thing: how these subjects make them feel.
🔗 Brian Massumi has much to say about politics and affect. His idea is that the pre-emptive policies of post-9/11 counter-terrorism creates an atmosphere of “low-lying fear”—an affect of terror.
-
- Oct 2018
-
briangallegos.herokuapp.com briangallegos.herokuapp.com
-
Brian Gallegos (test note)
Tags
Annotators
URL
-
- Mar 2018
-
muraludg.org muraludg.org
-
mural-tastic
Tags
Annotators
URL
-