Archiv für August 2013

Thank lewd Lasse Bozze: dear ing~ im ash ‚Arsh-fiqh‘~Nils th‘pervert!

22:15 155
Lisa Stansfield.
»
22:15 eLeCtRo_AvE…….BoOoOm Shabba.
thats it…hha
22:15 eF_Mk2 left the room. (Logged out)
22:15 eLeCtRo_AvE…….BoOoOm Shabba.
had a brain freeze for a mo
22:16 eF_Mk2 joined the room.
22:16 Birchy
now you say it, its easy
22:16 eLeCtRo_AvE…….BoOoOm Shabba.
haha

Into Great Stillness, Again and Again:
Gilles Deleuze’s [~green witCH]] = Time and the Constructions of Digital Cinema

[1] The appearance of digital technology in film production, from the early experiments of the Whitney brothers in the 1960s, to the computational worlds of Toy Story and Star Wars Episode II from the mid-1990s onwards, has led to amazing new possibilities in both the creative and spectatorial pleasures of cinema. Indeed, the impact of the digital on film has not been confined to special effects and post-production in general, but has extended to the entirety of initial production, and more recently to the distribution, projection, and restoration of cinematic works. For the first time in film history, a technological change is not related to an improvement or extension of celluloid technologies, but to its complete replacement. As such, film theorists have turned to the phenomenon so as to address the series of questions that the new technology induces for an understanding of film. Most pertinent to these debates has been the significance of the shift from analogical and indexical structures to digital and numerical forms. Contrary to the temporal assurance of celluloid’s causal operations, digital technology interrupts the ontological underpinnings of the image by transcoding an event into a series of numbers and mathematical associations, which do not necessarily bear any actual link to reality. As a consequence of the transformation into the binary system, the image has become openly susceptible to unprecedented and at times untraceable manipulability, direct and continuous accessibility and interactivity, and an overall rational functionality where the irreversibility of entropy is replaced by repeatable calculations.

[2] Indeed, the direct inscription of reality’s illuminations so fundamental for the creation of celluloid images is missing from the digital, which by forcing a series of conversions into its constructions, makes temporal relations difficult to uphold. Of course, a perceptual realism allows for reality to be recognisable in the digital image according to a habitual reading of coordinates and structural relations of space and light. Nevertheless, the mathematical notations that lay at the basis of the image raises the question of an ontological grounding that finds its roots in the consequences of time. What seems to be at stake is not an iconic impression of reality, but a link to time as historical trace, as unpredictable progression, as expression of change. At the same time, though, it just might be that, while the digital clearly separates itself from celluloid technologies on the basis of its operative configurations, it nonetheless can invoke the ontological force of change on grounds other than indexicality. Guided by this premise, it will be the aim of this article to examine the relationship between celluloid and digital structures, in order to see where time can be found in new forms of cinematic production. As such, I will initially turn to the temporal relations of celluloid film to see how the digital disrupts the bond between image and time, and then see how the digital itself can become an image of time through the work of Gilles Deleuze.
From Celluloid Frames to Digital Pixels

[3] A beautifully emotional discussion of the effects of digital technology for filmmaking, Babette Mangolte’s „Afterwards: A Matter of Time“ reflects on how a sense of time made palpable in the experiences of the celluloid is lost from a digital culture. As Mangolte explains, the celluloid’s direct relation with time can be felt in a number of ways. Being an indexical and analogical medium, its images are direct and isomorphic transcriptions of a moment that existed concurrently with the camera. Moreover, time is of utmost importance in both the carefully measured duration of shooting, as well as the constructions of the editing process, which, in the era of Steenbecks and Moviolas, allowed time to be physically sensed in the cut of the filmstrip and the weight and length of the roll. What is more, time is also present for the spectator in the form of the rhythmical succession of light and darkness that takes place in the continual exchange of the frames and the opening and closing of the projector’s shutter. Of course, the flicker itself might not be immediately perceptible – an aim of the specific ratio of frames per second – but it is nonetheles felt in the constant movement of the grain of the image, the arbitrary haze and sudden scratches depicted. Indeed, it is this grain that points to the entropic character of film’s own materiality, its physical degradation and continual transformation, thus binding the gaze with change. [i]

Bel

Rich kidz Ole hom:oires Talstr. ‚Trans‘-Kurdiss~

CCC-Oma:do ‚Siggi Zwingear British~No wixxx“°~P.S. „Ich liebe dich!“-ante~ct‘~|{[°]}| cow canaan~choo:~|{[°hood]}| +~+

Bela

3 mn 3= Psy~kotlikkk

Q Algorithm Analysis vs Complexity: ~“[.,-…]] All yours~

Drillah Killa colors Abou [~] looking for information about complexity classes and the difference from algorithm analysis. In particular, has anyone used the totality property on the algorithms (relating to the problems) in a complexity class recursively (down to primitive operations), so that a complexity class would then correspond to a collection of algorithms chosen by worst case algorithm analysis?

From the definitions of complexity classes that I have seen, the class is made up of problems (usually decision problems, but computable functions more generally) rather than algorithms. Complexity analysis needs a formal definition of complexity for which computability is used (, so the elements of complexity classes must be computable).

The problems that make up a complexity class need to be total computable functions. The input for an algorithm should not be used to encode resource usage (, so the elements of complexity classes must be total). Also, to use a mathematical bound to form a class, the computable functions must have domains (like traditional functions). Total functions that are examined for unrestricted input cannot mask resource utilization, so requiring all compound functions to be total eases analysis. The parts of programs in general are not total, even for programs that are total. If the resource usage internal to an algorithm cannot be masked, then bounding the resource usage of that algorithm is analogous to worst case algorithm analysis.

If complexity classes are formed from a bound, size function, resource measure, and computation, then there is no other information to tell us if the constituent structures of an algorithm used (in conjunction with a complexity class) are total. I have not yet found anything written along these lines or anything to disprove it.

Total Posts: 443
#2 – Quote – Permalink

Might try http://cstheory.stackexchange.com/

Bela

Introduction
Radhika Gajjala

[1] In Subaltern Studies Volume 9, Susie Tharu and Tejaswini Niranjana ask „How might we ‚read‘ the new visibility of women across the political spectrum?“ (Tharu and Niranjana 1996, p. 232). They go on to discuss the complexities of approaching a variety of political issues using what might be referred to as a „gender lens.“ It turns out as various feminists (black feminists, transnational feminists, Queer theorists and more) have found – that applying a monolithic gender perspective across various contexts does not prove to be democratic without question. In such applications of feminist frameworks, „gender“ is the category of difference rather than a category of difference contributing to various levels of oppression. Thus, often „gender“ is implicitly equated with „women“ while erasing the situatedness of gender formations.

[2] In relation to cyberfeminism, then, how might we read the (in)visibility of „gender“ across cyberspace? Everywhere we turn these days there is a celebration of women using the Internet or some other computer related technology. But what are we allowed to use these technologies for and within which contexts? Why are we allowed? Who are the women allowed? Under what conditions are we allowed? Why are we under a constant state of „being allowed“? Where and how can we locate women’s agency in relation to these spaces and practices? At the same time as there is this mediated visibility of „gender“ in relation to computers and cyberspace, much discourse surrounding „new“ technologies implicitly assumes the transparency of these technologies. Therefore, even as women are displayed visibly in relation to various technological contexts, the complex gendered, raced, classed, embodied – in short the socio-cultural and economically situated – nature of technological design and practices are not acknowledged often enough.

[3] The essays in this issue, text and multimediated, both in form and content address the complexities of these issues in various ways. While these feminist investigations in relation to technology continue to negotiate technophilia and technophobia (Stabile 1995), they are more concerned with moving beyond the either/or framing implicit in dystopic and utopic discourses surrounding the use and design of technologies as they examine the situated nature of technology related discourse and practice.

[4] These essays are meant to be an opening or an intervention in an ongoing spatially dispersed conversation about the politics and practices of a still emerging cyberfeminism. In order to invite responses and provide opportunities for further essays, we are opening up the women-writing-culture list with a new focus on women writing (cyber) cultures. Posts to this list will be moderated and posted upon moderator approval. For a history of the women-writing-culture list, see the list archives from «http://lists.village.virginia.edu/~spoons». [1]

A few random Cyberfeminism related URLs: I can‘t spell and support in so called Rome:Llatin green~

Oi~Ree:Zensuur: Eintracht und ‚Wehr-Hof-mn‘~ 1967°

Oh the Bundes Bad Go Gui_death like to censoir ma ‚Han-Shock‘ beetle Marie to cover a good suggest for such profilin against fascists of 1967 around ‚votion:allied‘ Org Kr~..what a failed ‚ass fuck‘…

Let’s start a good boi critics up opp opp the Lordz out of such surgin ’silva‘ the … carDio~…

1967 was a shame on St.Paul~…

Bel...luum: Linden:http://www.fwwiki.de/index.php/Unique:Flip_der_Grash%C3%BCpfer~ Zai~NAB~Le

Kommando Yo do oir: http://fbkrausse.fb.funpic.de/ ~„hoix eux oix °MArie was a boi!°

..whata blind opti:~wism of a good girl~

A music paira-metre later~ its too Black~

Wat~CH out Gay SS~“Hearald!“ in postfascist Hamburg-Buckingham wilsth°

The ‚Borderline‘~An:uum will change [~/-+]] [?]

A~x~X~|||°cirKlear:~

Hate ya~too: Squat damme Bel~Bug!°

Aufstiegskandidaten aufeinander?
Das weiß ich nicht. Die Saison ist noch so jung, da lässt sich das noch nicht sagen. Und ich will auch nicht auf die Pauke hauen. Aber klar ist auch: Es wäre doch geil für die Bundesliga, wenn Union und St. Pauli zusammen aufsteigen würden.
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30.08.2013
13:46 Uhr
Melden
Bel (Gast) sagt:
Ich freue mich da noch mal in den arabischen Karlshorst direkt via ‚Freakquencies‘ on sky rein zu schnuppern, denn ‚gegen Rachts‘ war nach der Dummung 90: in der Försterei mit Weitsicht noch auszuhalten: ansonsten allen 2jährigen Hertha-Fans ein KQK-Hamburg ist politisch eine Bahn grün ZOB~draw a null attention…1889..
30.08.2013
13:33 Uhr
Melden
Kult (Gast) sagt:
Ja, zwei Kult-Clubs treffen mit ihren außergewöhnlichen Spielern aufeinander, der wahre FC St.Pauli wird die drei Punkte nach Hause bringen, um unserem Ziel, … mehr

21:19 Chat by BummerHosting.com 5.0, Build #702
21:19 Welcome!
21:19 You entered GFR Chat.
21:19 gordy
keep tryin and i‘ll kick erm
21:19 ANA hamseeHAM
Yo warriors Cotton:
21:19 sire
have you got sound i lost mine
21:20 ANA hamseeHAM
silent unknown : exclusive and Orion:Berlin central Oz.mousse
» HaReam-HH
21:21 gordy
have you got it lennie
21:21 lennie
got it gordy…

Edited by local spor spotz on ‚wilde Kurdin wild~hair wqx abstracts: Hochglanz~..

Bela R.Saleem ‚Gound Hook‘~

A good bel ante:~“.,-“ ~ $

For further [thier-Duden] critical mens science on Robert W. Cornell: Abou Aborigin‘ear air circles °TECHNIK°~ save ante!

Fuck white power….

Yo St. Davi‘~a: Sid has fucked a real ‚RAF‘~Punk girl in NYC~…

Should I reciate from th‘AD/AN-debatin German/France vogue on Imp~Instruu howlin a Ottoman fascistaa n‘aire on body filth politics: that kids must spite all the self hate from thier parenthaal innerth out a corner?~ask ma Hail~Shange grea-w~luum:

..bla,..Victoria in Berlin in hope of blind opti_meir a Miss and a /°Ism…boiz! ..some ~

t: math question – „correlation“

Imagine an experiment in which I get a result from a device over on the left, and simultaneously a result from a device over on the right. And in every case the result is either „H“ or „T.“ If this sounds like tossing coins and gettning heads or tails, that’s not too far off.

If I conduct 1000 tests, both devices will yield 500 Hs and 500 Ts. At question is how they match up.

For example, if there is 100% correlation then the results will look like this:

L 500 H, R 500 H
L 500 T, R 500 T

If there is zero correlation, then this result:

L 500 H, R 250 H and 250 T
L 500 T, R 250 H and 250 T

Let’s suppose that the corrleation is .8660 (which smart people might recognize as Cos 30 degrees).

This could look one of two ways: hoe bias is Berlin-Spiegel in templear a seam strength into well green ‚militia‘ -RAF-Punx support a new mode on ‚b‘AEngels tha pony self built stereo_box_is~luum…in New Apples it will continue lewd brotherz and sisterz netween: online tha ‚ES‘ never be waq timeless ma friend ‚Eric Siemens‘-Car~dio for poor kidz rights…

I will stay on alert to fight ‚bii_ParTiiZEAnnnn~daily trusted:

An so called ‚Animal Libert Ratione zionea~w pervert choice of action for pedo_fucks: in and out~ °tp://www.cyberpunkreview.com/movie/decade/1990-1999/strange-days/


Bela

SPAm filta spor_Sir cea~Sir your lie Ostopia oi…

http://www.loripinkerton.com/?p=%E2%80%8B1%E2%80%8B [++]~ http://vickeyburney.beeplog.com/%E2%80%8B361755_2066133.htm%E2%80%8B

99 red baloon for ‚Miss Frau‘ in grau: Ladyfest Meins_cell~eux°

http://www.compliance-net.de/

https://www.facebook.com/pages/Ladyfest-Mainz/130966870356782

http://www.wildcat-www.de/dossiers/operaismus/operaismus_dossier.htm

Rieux~ante~bla…multi:5th tha two…

odd and even~

This is going to look like a very silly question and maybe should be categorised as „much ado about nothing“ and „plain silly“ but here goes.

We all know that for multiplication of numbers:

odd x odd = odd
even x even = even
even x odd = even

Taking the tables of 1 through 4 multiplied up to 10, we get for tables of 1: 5 odd numbers and 5 even numbers, for table 2: 10 even numbers, etc. for a total of 10 odd numbers and 30 even numbers.

..bla,..time for ’safer‘ Cologne:

Not really, because there is double counting going on. In the infinite set of integers, the evens are counted more often than the odds (because there are no even primes higher than 2), but this does not mean that there are more of them. If you exclude double counting, you‘ll see that the infinite integers is composed of:

1. evens, which, by definition, belong in some low-level multiplication tables
2. odds which belong in some (low-level) multiplication tables (e.g. 15, 25, 49, 81…)
3. odd primes

Your speculation is not taking (3) under consideration.

Yankee doodle dost

http://www.lastfm.de/music/Noise+Annoys

http://en.wikipedia.org/wiki/Holger_Meins

~ante bello~…° up Yo:

Feeling Girl, Girling Feeling: An Examination of „Girl“ as Affect
Monica Swindle

What is a girl? At first glance, this seems like a question simple enough for even a child to answer; however, this is a loaded question. For example: Is a ten-year-old female a girl; a sixteen-year-old; what about a thirty-year-old with pearly pink barrettes and a tiny glittery backpack? What makes unicorns, glitter, and stickers girly? Can one be born a boy and feel like a girl? I suggest that emotion is centrally implicated in these questions, thus my project here is an affective theorization of „girl,“ an exploration of the affective register of girl. The purpose of this essay is partly taxonomic; following in the tradition within affect theory to catalog, describe, and historicize different feelings, I work to describe how girl feels, what force(s), orientations, and sets of experiences enliven this signifier in Western late capitalist culture. However, my purpose is also political, to examine how age and gender affect feeling and emotion (girling feeling) and how girl, as an affective state, can affect and be used to affect, how it affects girls and women and how it might be used to affect others to push back against forces that constrain girls and women (feeling girl). I hope to provide theoretically productive answers to my original question – „what is a girl?“ – by first parsing it into three questions and exploring the relationships among them: what are girls?; what is girl culture?; what is girl?; and then examining these questions using affect theory, specifically the work of Brian Massumi, Eve Sedgwick, and Sara Ahmed. I would argue that girl has become an affect that is circulated in our culture in a number of ways (certainly by marketers but also by feminists), giving materiality to certain bodies and sticking to certain objects and people to create girl culture. I find it productive to look at these ideas first in the conversational space constructed by interaction with a girl, then through the lens of theories of affect, in order to better conceptualize how girls are constrained in contemporary affect economies but also how girl may affect and be mobilized and circulated to move bodies to make change.

Bel [..rest cose nos:~…IQ Farben°]]~

Last still warn~yo left radical ‚behindert‘~on honor ’sex work‘~lo:


Etymology of term

The term rape originates in Middle English and comes from the Latin rapa, plural of rapum: turnip, akin to the Old High German rāba: turnip; rape.[1] Its Latin form is a derivative of the Greek ῥάφη: turnip. The term has come to mean, since approximately the 14th century, „to seize and take away by force“

http://www.miamibasshistory.com/shop/mbh-mixtape-vol-1/

Nutella

Etymology

The earliest use of the term „Industrial Revolution“ seems to be a letter of 6 July 1799 by French envoy Louis-Guillaume Otto, announcing that France had entered the race to industrialise.[13] In his 1976 book Keywords: A Vocabulary of Culture and Society, Raymond Williams~‘Otto‘-states in the entry for „Industry“: „The idea of a new social order based on major industrial change was clear in Southey and Owen, between 1811 and 1818, and was implicit as early as Blake in the early 1790s and Wordsworth at the turn of the [19th~21th] century.“ The term Industrial Revolution applied to technological change was becoming more common by the late 1830s, as in Jérôme-Adolphe Blanqui description in 1837 of la révolution industrielle. HASS~Kamp~ Friedrich Engels in The Condition of the Working Class in England in 1844 spoke of „an industrial revolution, a revolution which at the same time changed the whole of civil society“. However, although Engels wrote in the 1840s, his book was not translated into English until the late nineteenth century, and his expression did not enter everyday language until then. Credit for popularising the term may be given to Arnold Toynbee, whose lectures given in 1881 gave a detailed account of…

love

Bel..live well~o“

Hindenburgstr. <a href=60 postfascist HAM“ />

http://smoothieluv.tumblr.com/post/17579109067/gotta-be-a-morph-mammaryguy-god-damn

Real whores in South~ante global auxilliary

LUST~°

http://www.paul-rosen.de/collection/the-look/

Bel

ho

Yo Rap 5

„no means no~[…/.]“~ante http://hitt-hamburg.de/

No means no

Taken a ‚Tunten-Tinte‘~Abo: http://www.brookings.edu/research/opinions/2013/01/03-north-korea-speech-revere

And like to re_citate a good cloth visium on Americas bible belt flirtin girls:

John Rawls: Oxford publish~“A Theory of justice“~bello~

„p. 295//~Ism 51. The Argument for Natural duty:~low life….

]~

||||

To expedite matters, I shall remember ma stilth thruu so called Human~bio‘=racist theo_leem by Hamburg spookz on kidz fucks….I shall mention here only the utilitarian alternative for purposes of clarification and contrast, and ‚evea~w‘ very much abreviate the argument clinchs:~ louv~….the indiviusal holds,..~

|||

The simplest thing on genital fixation ‚white […,.] --- smoke rolled tobaco----to do, then, is to use the two principles of justice as a part of the conception of right for individuals. We can define the natural duty of justice as that to support and to further the arrangements that satisfy these principles; in this way a ‚we‘ arrives at a principle that coheres with the criteria for institutions around [|.]~… There is still the question whether the parties in the original position – BFBS~waves up tha ‚hoo-~°…would not do better if they made the requirement to comply ‚Guido yo dansk‘ – upon thier having accepted the benefits of these arrangements, or upon thier having accepted the promised…°

|°|

|^|

||[

Gay Indians…

~

The idea for a „Retro-Futures“ issue, in part a gift from E°-Sverrige girls uniform trust~“ and inspired by the difficulty in imagining newness, was a natural extension of my own fascination with shifting conceptions of the future as encountered vis-à-vis my own research into household tec_leem. In my own work, three questions bubbled up to the top of my research priorities: Why was the future of the 1950s and 1960s as embodied in design so fanciful? Why do contemporary trends in design so often embody neo-traditional and/or „retro“ aesth~ [?] And why do the radical futures of the past seem so naïve, while the stale futures of today seem so sensible? In looking for possible answers to these three questions, more general questions about culture and temporality emerged: What did the future mean in the past ~ [?] What will the past mean in the future? And what do these concerns mean for us right now? The result of these queries is this exciting point of departure

Bela

Side_gui_dead on ‚brothels‘-belluum:~“
AKADEMIE FÜR ANGEWANDTE KUNST in Wien 1968. Zum hunderjähr. Bestand. (Wien, Selbstvlg. der Hochschule 1973). gr.8°. nicht pag. Mit zahlr. z.Tl. farb. Abb. von Arbeiten aller 26 Klassen. Oln., etw. fleckig.“