在一厢情愿结构
由于大多数人都知道，我的工作（另）一书关于时间，该Clockless Clock，其中我序列化最新智能邮件列表。在得到一个动手的主题的理解的精神，而回我决定建立一个实际的时钟作为半自制的项目。也许不止一个，但让我们用一个开始。这其中，ROKR 3D木制机械摆钟：
我买的包（$45.99 on Amazon在任何情况下，你要和我一起构建）几个月前，但只是刚刚开始建设它。事情是对木材的几页几乎全部激光切割部位，使企业的一阶结束的苦心飞出部分一小时。这就像突然出现泡沫包装的自虐版本。
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虽然去世的消息的小说，或书的，对于这个问题，似乎没有更好的比clickbait，时间就在眼前询问下一步是什么。在它的西方变种，新建成的势头超过几百年，成为二十世纪的主要文学形式;它的普及和渗透依赖和响应，有时在媒体，手段，市场令人眼花缭乱的相移。在这个意义上说，它的历史也倒像是当今时代的（生活）的化石，从机械化到全球化，从识字扩大到亲密的发明。
由于转换和破坏当前我们面临着一对多的范围，速度和规模，其中的大流行将巩固或提高，这将是失职，我们不能想象的新的文学形式在我们有生之年凝结。
And if the precondition for new forms is, indeed,platforms...
继出版和发行的浓度增加;小的，积极的独立机屈指可数，现在不是在MFA或实习计划的锦鲤池塘，但在社会化媒体，它可以在最冒险和unembellished找到侦察人才。商业模式各有不同，但都在朝着自治这些印刷机分享推动中央。他们不是宣言的工厂，但敏捷的企业是[重新] S [E]定义的生产，采取一切，从他们提交软件到他们的赌注，在他们手中的手段;其他的方式微酿啤酒或治愈火腿。也不是这些九十年代zines：DIY的书有在最后命中了其作为美术步幅，使用对象一样令人印象深刻的几乎所有主要发行的房子和更好的文案编辑。该writers championed by these presses are, furthermore, early explorers in peerlessness, encouraged to pursue marginal practices that might be otherwise untenable by one-man editorial orchestras who aren’t tastemakers―a role best reserved for establishment reviewers―but craftsmen and colleagues themselves.
有先例，自然，像阿德菲压力机，或杂志喜欢苏尔，with one significant and telling difference: the elective affinities at work here are more exclusively literary than anytime before. These are not groups of friends with similar backgrounds who meet periodically at a café or who attended the same universities. We’re not in Bloomsbury anymore. By and large, these are cadres of strangers from all walks of life―Twitter mutuals―more eclectic in their outputs than entire university departments.
陌生化是不是在产品，但这一进程的一部分。
When I started the blogchain experiment in January 2019, I had in mind a metaphor of abetway大额提现，创造了我所谓infratextuality的感觉。这十年的身价从档案Rust Age (2007-12) and Snowflake Age (2013-18)将是摩天大楼。所述blogchains将是隧道，通过编织主题的地下连接层。在这个过程中，ribbonfarbetway客户端m会优雅地变老到elderblog。
在最近几个月里，我已经转移到一个新的比喻：angkorwatificaction，吴哥窟之后，用野生的植物生命抬头，intertwingled它毁了，和一定程度上恢复的寺庙建筑群。
Applied to a blog, angkorwatification is a sort of textual equivalent of rewilding. You have a base layer of traditional blog posts that is essentially complete in the sense of having created, over time, an idea space with a clear identity, and a more or less deliberately conceived architecture to it. And you have a secondary organic growth layer that is patiently but relentlessly rewilding the first, inorganic one. That second layer also emerges from the mind of the blogger of course, but does so via surrender to brain entropy rather than via writerly intentions disciplining the flow of words. I’ve seen some other old sites undergo angkorwatification. Some seem to happily surrender to it like I am doing, others seem to fight it, like I won’t.
一个相关的心智模式是海洋生命的殖民沉没沉船，形成人工鱼礁。故意做作的博客文章，如船舶，有一个设计寿命。如果天窗他们在正确的位置时，他们开始觉得自己老了，新的生活能在废船生锈增长。这还挺有趣觉得我的档案作为我自己的僵死的思想沉没海难。
Memento mori.不完全是，但。这不是灰飞烟灭，尘归尘。这是生命与生命。语言是活的力量，书写必然缓和它在追求特定的意图。放弃特定意图是臣服于生活的力量。也许一个elderblog，就像一个健谈的孩子，应该是一个有点尴尬的社会存在。放弃庄严为了更活着，更长的时间。
我喜欢这个比喻不是我原来的塔，和隧道的比喻比较好，因为我在这里写的方式，现在更像是树根通过脆弱的人类建筑比任何形式的计划infratextual隧道施工不可避免地编织。该寺庙的尖顶仍然代表同一件事：老式的博客文章。朗朗上口的标题，米姆值得核心理念，病毒意图写作。诸如此类的事情，对于一个十年，统治着网络的大，与本网站明确。
闪电的病毒可以罢工th注意e spires of Angkor Wat as surely as they can skyscrapers, but the metaphor of an encroaching forest suggests something different than a system of tunnels. Where a tunnel system respects and attempts to preserve the landscape it weaves through, an encroaching forest does not. Roots can weave through cracks in the architecture, topple spires, and crumble walls. The idea of encroaching forests also suggests an abandonment of the base layer to its fate, which I like. The encroaching forest is neither friendly, nor hostile. It just follows its own ungoverned, more alive logic, casually destroying the old structure where it resists, leaving it alone where it doesn’t.
This year, though I’ve written a few old-style posts, including a big hit (在ternet of Beefs），我对他们的期望有所不同。我有上吸引他们的音乐主题加倍捕获的关注山洪没有兴趣。我现在在的思维主要老人游戏，后期风格和塞萨尔·艾雷拉的betwayAPP艺术 - 和ribbonfarbetway客户端m保持在心脏的一个艺术项目 - 是不是应该做得很好。
Much of my polished writing energy has been diverted to最新智能and千兆的艺术。所以rbetway客户端ibbonfarm正在慢慢地回收了什么对我来说是没有这么多新的样式，而是新的大众风格。现在我发现自己处理这个博客，我把我的私人笔记本电脑的方式，作为一种的剪贴簿空间。那种感觉最真实的这个新模式的东西是我的Captain’s Log blogchain其编号的部分，我的书评生活reads，从Twitter拉入。
在trying to situate this process within what I’ve dubbedbetwaychina.com，这让我感到angkorwatification是很多都开始叫数字园艺的邪恶的双胞胎。相反，从头开始建立一个稍微亲密空间的铭记和需要努力的策展，angkorwatification是一种让-GO的;投降到开始在具有足够岁大脑出现自然熵力，并积累了足够的记忆，在内部，和外部的类似博客的修复空间。这是当然的，只提供给elderblogs的选项。你不能放弃领土野化过程中，你从来没有试图教化开始。
也有一些奇妙的解放有关该创造性毁灭的方式观看ribbonfarm，作为空间直逼森林的冲击下慢慢地去废墟。betway客户端第11年（2007-18）看到的东西令我回想起来是相当高的现代主义，保费平庸的文字空间，忙乱其病毒注意力经济的份额建设。在2019年，我开始倒车过程中试探，与blogchains。在2020年，我想我已经完全接受了这一轨迹。什么将这个博客的样子作为angkorwatification的进展？我不知道，但我很好奇，想一探究竟。
博尔赫斯被介绍给托马斯·布朗爵士和马塞尔·施沃布之间原有的恐怖地方。他没有脸，就像一个谐振腔的名称：黑若斯达特斯，阿尔忒弥斯的以弗所的第二圣殿的纵火犯;与遗忘处罚，赎回的奇观。
His subsistence, despite his除忆诅咒，手段眼镜是不是命于他们的Debordian服饰 - 日用品拜物教，大众媒体，etc-但植根于表象的根本问题，等等的艺术世界历史的兴趣。而作为世俗的Herostratian声称骂名在今天看来，它也改变了股票的划时代的温度。举德波自己：“[T]对社会知识的他成长，其中包括历史的理解是文化的心脏，[和]从自身导出一个不可逆转的知识，是上帝的破坏表示。”黑若斯达特斯纵火一个新迎来了看越轨的审美极限体验，而且有趣的是，传说亚历山大出生那天晚上。
该terrorist organisation as we know it ―cast as the asymmetric shadow of the modern state on a cellular level― lays no claim to the Herostratuses of the world, who are after attributions more exclusive to the State ―or, indeed, God― than the means of production. To become如the State, orlike走d, is to seize and control the means of destruction, no matter how fleetingly. To “attack and dethrone God” is to pay off an entire world’s accursed share.
景观社会与装饰方法的好处的连环杀手，但它是Herostratian恐怖分子谁拥有κόσμος。他是销毁世界新秩序的使者。他可能看起来像笛卡尔或类似特伦斯·斯坦普在TEOREMA，but for his act to be effective and to ―maybe― resonate within collective, folk, historic or genetic memory, it must be unrepeatable and unforgettable. Therein his nod to Spectacle: the Herostratian knows that, more so than beauty, terror has aura.
Two days ago, social media was ablaze with reports of “baby witches” hexing the Moon. The implications of their assault on not just Artemis, but the Thing-In-Itself, are occult and even philosophical, but they are not artistic, or historic, or spectacular. This attempted deicide was borne not from irreversible knowledge, but from a dearth of knowledge so profound as to be irreversible. As a charge on the Debordian House of Representatives, it didn’t even nick Representation.
我的第二个深潜流行读是自由的锻造by Arthur Herman, covering the history of the United States’ industrial mobilization for World War 2. There is a good deal of resemblance between the mobilization to beat Covid (and coming soon: climate) and WW2 mobilization, so it’s a good history to have in your back pocket for the next decade.
与我以前的深潜，对芭芭拉·塔奇曼的A Distant Mirror，因为我读的书，这只是一个清理的版本，我livetweeting的。正如那本书，这一个了，从很多维基百科侧步道的好处，我已经挂了一堆人。
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Velázquez’s金星is perhaps the most naked on record: with nothing but her lovechild, Cupid, to hold up a mirror to her difuse reflection (deflection?), she lacks most of the mythic giveaways of her traditional representations. She is unlandscaped, unjewelled and unmyrtled. She can’t be [M]arsed. If not for the luxuriant fabrics she is recumbent on, or for that fleshly tongue of curtain, her room is as featureless as Cupid’s left leg, which is as faded as her face. Seen glancingly, she is the picture of a modern, mortal woman: an adaptation that, to some extent, accounts for her survival into our time.
在反传统的历史上的一个图标，她先在菲利普四世的私人房间物化，提香和鲁本斯的加盟其他两个镜像携带维纳斯。虽然女性裸体是罕见的，在西班牙巴洛克宫廷严重约束，委拉斯开兹-as法院painter-被作为重点保护;他的金星钦佩由国王和一些领域最强大的臣子，谁保证她没有屈从于危险或审查的。
This Venus is not self-absorbed, but considerate of the efforts required to protect her. She shows us her backside but not her pudendum, unlike her more brazen revision as Goya’sNude Maja。她的目光从观众避免，但同谋与画家的。通过钩和骗子，她去到英国，她带着她的Rokeby大道的标题和囊括另一位国王，爱德华七世，谁保护她在伦敦的国家美术馆地位的奉献。
在艺术与错觉，E. H.贡布里希有马蒂斯说干馏对他的肖像画之一的比例批评：“这是不是一个女人，这是一幅画”。该Rokeby Venus两者都不是。
在1914, Mary Richardson, a British suffragette out for symbolic blood, took a meat cleaver to Venus, slashing her seven times from neck to rump. She was upset by the painting’s allure, and claimed she meant to “destroy the picture of the most beautiful woman in mythological history” to protest the arrest of Emmeline Pankhurst, “the most beautiful character in modern history.”
Befitting her stature and nature, the goddess was restored. In addition to spending six months in prison ―the maximum sentence for defacing a work of art― Ms. Richardson became an early model for a very different mirroring of womankind: the angry feminist as frenemy of the eternal feminine.
我刚刚完成了最重的阅读到目前为止，在我读大流行名单，芭芭拉·塔奇曼的遥远的镜子大约在14世纪，松散的帐户的黑死病欧洲的经验。这是一个784页的怪物，我在68天读它在睡前15-30分钟块，而活啁啾它。
I was going to try and reshape my live-tweeting into an actual longform review/summary, but people seemed to like the live/fresh feel of the livetweeting, so I decided to just clean up and post the thread here as notes, with some light editing, linking, and addition of a few post-twitter [editorial additions]. This is also a book that benefits from a lot of Wikipedia bunnytrailing on the side, and I found myself doing a lot of reading about characters and events mentioned in passing. I’ve linked a selection of those to these notes.
旁白：如果你喜欢这种形式，让我知道。我有一堆在Twitter上可能是适合这种光触摸blogification线程。
[阅读更多…]在政治动荡的时代，当它不清除历史记录的弧线将弯曲哪种方式，它是有用的重构政治前途的问题，在建成环境期货的条款。不要问，什么样的环境，我们将居住，你问的可能是比较容易的问题，什么样的建筑环境，将我们所居住？然后，您尝试从推断环境的未来。这个问题也可以在更具体的方面，如要求what sorts of futures contain mansions?除了让您实质性专注于你可能很在意，这样的问题让你巧妙更充满政治问题。
Loosely speaking, the reframe turns a scenario-planning question into a design-fiction question. The underlying hypothesis is that the medium is the message. If you can forecast something about the medium, you can forecast something about the message. Here, the medium is the built environment, and the message is the range of milieus that might thrive or wither within it. This gives us the idea of abuilding-milieu fit(BMF), by analogy to the product-market-fit idea used in the startup world.
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It may or may not be true that there are no extant photographs of Johann C. Schmidt, aka Max Stirner. The ones I may know of lack the auratic power of the two penetrating character sketches Friedrich Engels did of him: the first, a remarkable, vulpine profile he drew from memory for John Henry Mackay, Stirner’s biographer, near the end of his life; the other, a dramatic standing portrait of the author of该Ego and Its Own，平静地抽着推翻椅子后面的一个狂欢组草图模具Freiendone sometime around 1842. This is the source code of the Stirner meme.
施蒂纳蒙上在现代政治哲学的再招摇撞骗的阴影之一，他的杂色的声誉建立在多一点不透明传记，另一个更不透明的文章和历史，如果迂回闭塞，由两个较为显着同时代的是非曲直意见分歧。夸大，但幅度不大，施蒂纳是马克思和恩格斯什么Schreber法官弗洛伊德和荣格：分叉他们未来的理论努力的铺垫，出没他们funhouses后来周围建于遏制部分努力。
一个施蒂纳米姆的存在说这个hauntological能力，特别是因为它涉及较少的利己主义的施蒂纳的本体论，而不是他的“间谍”，则异常清晰非实体预先排除利己主义ownness的从属概念。处于最佳状态，这似乎为利己主义的当代联盟，一个临时搭建的，不结盟“spookbusters”和博学的巨魔自愿，主权联盟的标识符来操作。
即使是在它的鲜明和类鲨鱼图形语言中，施蒂纳是辩证的对比另一个著名，黑色外形卡通米姆：在笨头笨脑Wojack或“感觉的人”，谁缺乏修养，并受惠于情感，道德的间谍，appetition，政治承诺，identitarian倾向和各样的向往，对属于。
Though both have been subject to the usual memetic distortions, the Stirners have gained apotropaic, maybe even exorcistic traction, while the Wojack has become the figurehead of NPCs, a spook-unto-himself, incapable of self-rule. And while the Stirner is, of course, a perverse, self-parodying spook by merely representing ―rather than enacting― ownness, the Wojack flags the iterations of its absence. In Internet parlance, the Stirner is in a relation of ownership with the surrounding world; the Wojack is [p]owned.
两名间谍在里面你的战斗。拿，你们应给予，goads的施蒂纳。该Wojack只有两个选择：提交，或拖动。
A tiger was reported loose in Oakland on the night of May 31. The report was false, yes, but it hardly mattered because―as is rarely the case with fake news―it hadvision。总之，报告was false but老虎是真实的。举@aesthetikeit，这里是一个制造存在“无目的和历史的暴力精神的象征”，如果不是肉，对美国城市的死亡和重生。
这也不是野生动物的骚乱期间发生的唯一的幽灵：有在明尼阿波利斯狮召唤兽在芝加哥suppositious河马的谈话。而且它是一个巧合，与其说这猖獗phantasmatic动物是一贯不西方，事实上，主要是非洲？我觉得不是。“世界事件的uncurbed眩晕[...]不属于离奇，以其亲切的和国内的内涵，但到了惊人的”：4月9日，我在lapsuslima.com那个写我在显灵持续缺乏表示惊讶。所有在适当的课程：他们一起来到了骚乱，在压抑的经典的回报。
而现在，对于这样的威武堂堂：在第二版第四巴黎现场波德莱尔恶之花在grea证明——无与伦比的生活和时间t urban metamorphoses―is a poem called “The Swan.” If the ‘Tableaux Parisiens’ are a manner of尤利西斯先于尤利西斯，“The Swan” is an object of vertiginous compersion: an utterly contemporary reconciliation of the mythic and pathetic, held in place and opened up for operation in a chiasmic net.
这个地方是在巴黎奥斯曼的变换;因为它被雕刻成它的称赞和心爱的现代形式，帝王主持下，以抵御危机蔓延和路障建设。这里安德洛玛，时代的史诗流放和寡妇，股名义天鹅外的水的阶段，鸟在其元素雄伟，但可怜的外面。该re is also “the negress,” a figure clearly modelled after Jeanne Duval, Baudelaire’s Haitian and adored “mistress of mistresses,” described as “wan and phthisical / Tramping the mud, and with her haggard eyes / Seeking beyond the mighty walls of fog / The absent palm-trees of proud Africa.”
但是，对她没有回头路。这一年是1861年在巴黎，波德莱尔，的父亲忧郁modernité，已经提请注意的黑色生活受到西方政体的字面消费。在大西洋彼岸，美国爆发内战。
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