Another Test Page

Main.AnotherTestPage History

Hide minor edits - Show changes to output

November 25, 2009, at 11:58 PM by 85.178.74.128 -
November 25, 2009, at 11:57 PM by 85.178.74.128 -
Changed lines 1-12 from:
%center% test text for preformatting
to:
%white%----------------------------%%hello%\\
%white%----------------------------%%paul%\\
%white%----------------------------%%and%\\
%white%----------------------------%%sönke%\\
%white%--------------------------%%%quiche%\\
%white%-------------------------%%%pumpkin%soup%%\\
%white%------------------------%%%red%beet%salad%lasagne%with%salad%%\\
%white%----------------------%%%fresh%pasta%pesto%mozarella%%\\
%white%--------------------%%%sandwiches%brushetta%%cake%avocado%
%breakfast %%%\\
%white%------------------%%%asian%soup%%\\
%white%-------------%%%so%say%what%else%you%like%to%cook%or%eat%%\\
October 05, 2009, at 02:34 PM by 80.109.152.170 -
Changed line 1 from:
%right% test text for preformatting
to:
%center% test text for preformatting
October 05, 2009, at 02:34 PM by 80.109.152.170 -
Changed line 1 from:
%p right% test text for preformatting
to:
%right% test text for preformatting
Changed line 1 from:
%right% test text for preformatting
to:
%p right% test text for preformatting
Changed line 1 from:
%text-align% test text for preformatting
to:
%right% test text for preformatting
Changed lines 1-2 from:
%text-align=right%
test text for preformatting
to:
%text-align% test text for preformatting
Changed lines 1-2 from:
%text-align=right%test text for preformatting
to:
%text-align=right%
test text for preformatting
Changed line 1 from:
%right%test text for preformatting
to:
%text-align=right%test text for preformatting
Added line 1:
%right%test text for preformatting
March 20, 2009, at 05:17 PM by 85.178.126.79 -
Deleted line 0:
comment5, <a href="http://www.viddler.com/explore/James7573/">American Idol Naked</a>, [url="http://www.viddler.com/explore/James7573/"]American Idol Naked[/url], http://www.viddler.com/explore/James7573/ American Idol Naked,  sggdcz, <a href="http://www.viddler.com/explore/Brandon9205/">Amanda Bynes Nude</a>, [url="http://www.viddler.com/explore/Brandon9205/"]Amanda Bynes Nude[/url], http://www.viddler.com/explore/Brandon9205/ Amanda Bynes Nude,  trtbrt, <a href="http://www.viddler.com/explore/Justin6175/">Alyssa Milano Nude</a>, [url="http://www.viddler.com/explore/Justin6175/"]Alyssa Milano Nude[/url], http://www.viddler.com/explore/Justin6175/ Alyssa Milano Nude,  dehz, <a href="http://www.viddler.com/explore/Noah0568/">American Idol Porn</a>, [url="http://www.viddler.com/explore/Noah0568/"]American Idol Porn[/url], http://www.viddler.com/explore/Noah0568/ American Idol Porn,  lbs, <a href="http://www.viddler.com/explore/Alexander8713/">Alyssa Milano Naked</a>, [url="http://www.viddler.com/explore/Alexander8713/"]Alyssa Milano Naked[/url], http://www.viddler.com/explore/Alexander8713/ Alyssa Milano Naked,  %PPP, <a href="http://www.viddler.com/explore/Juan8972/">American Idol Sex Tape</a>, [url="http://www.viddler.com/explore/Juan8972/"]American Idol Sex Tape[/url], http://www.viddler.com/explore/Juan8972/ American Idol Sex Tape,  kdpavc, <a href="http://www.viddler.com/explore/Matthew1402/">Alyson Hannigan Nude</a>, [url="http://www.viddler.com/explore/Matthew1402/"]Alyson Hannigan Nude[/url], http://www.viddler.com/explore/Matthew1402/ Alyson Hannigan Nude,  >:-(, <a href="http://www.viddler.com/explore/Christian5947/">American Idol Nudes</a>, [url="http://www.viddler.com/explore/Christian5947/"]American Idol Nudes[/url], http://www.viddler.com/explore/Christian5947/ American Idol Nudes,  :OO, <a href="http://www.viddler.com/explore/Dylan6342/">American Idol Nude Photos</a>, [url="http://www.viddler.com/explore/Dylan6342/"]American Idol Nude Photos[/url], http://www.viddler.com/explore/Dylan6342/ American Idol Nude Photos,  3690, <a href="http://www.viddler.com/explore/James6341/">Amanda Bynes Naked</a>, [url="http://www.viddler.com/explore/James6341/"]Amanda Bynes Naked[/url], http://www.viddler.com/explore/James6341/ Amanda Bynes Naked,  360, <a href="http://www.viddler.com/explore/Robert2649/">Amanda Beard Naked</a>, [url="http://www.viddler.com/explore/Robert2649/"]Amanda Beard Naked[/url], http://www.viddler.com/explore/Robert2649/ Amanda Beard Naked,  otcg, <a href="http://www.viddler.com/explore/Eric7558/">Amanda Tapping Nude</a>, [url="http://www.viddler.com/explore/Eric7558/"]Amanda Tapping Nude[/url], http://www.viddler.com/explore/Eric7558/ Amanda Tapping Nude,  qwkynr, <a href="http://www.viddler.com/explore/Hunter4822/">American Idol Nude</a>, [url="http://www.viddler.com/explore/Hunter4822/"]American Idol Nude[/url], http://www.viddler.com/explore/Hunter4822/ American Idol Nude,  710, <a href="http://www.viddler.com/explore/Tyler6999/">American Idol Nude Pics</a>, [url="http://www.viddler.com/explore/Tyler6999/"]American Idol Nude Pics[/url], http://www.viddler.com/explore/Tyler6999/ American Idol Nude Pics,  =OOO, <a href="http://www.viddler.com/explore/Connor9893/">American Idol Nude Pictures</a>, [url="http://www.viddler.com/explore/Connor9893/"]American Idol Nude Pictures[/url], http://www.viddler.com/explore/Connor9893/ American Idol Nude Pictures,  8), <a href="http://www.viddler.com/explore/Daniel1844/">Amanda Peet Nude</a>, [url="http://www.viddler.com/explore/Daniel1844/"]Amanda Peet Nude[/url], http://www.viddler.com/explore/Daniel1844/ Amanda Peet Nude,  =)), <a href="http://www.viddler.com/explore/Dylan5365/">Amanda Beard Nude</a>, [url="http://www.viddler.com/explore/Dylan5365/"]Amanda Beard Nude[/url], http://www.viddler.com/explore/Dylan5365/ Amanda Beard Nude,  :))), <a href="http://www.viddler.com/explore/Eric7057/">American Pie Naked Mile</a>, [url="http://www.viddler.com/explore/Eric7057/"]American Pie Naked Mile[/url], http://www.viddler.com/explore/Eric7057/ American Pie Naked Mile,  rkf, <a href="http://www.viddler.com/explore/Kevin0596/">Amatuer Porn Videos</a>, [url="http://www.viddler.com/explore/Kevin0596/"]Amatuer Porn Videos[/url], http://www.viddler.com/explore/Kevin0596/ Amatuer Porn Videos,  xgt, <a href="http://www.viddler.com/explore/David4507/">Amanda Beard Nude Pics</a>, [url="http://www.viddler.com/explore/David4507/"]Amanda Beard Nude Pics[/url], http://www.viddler.com/explore/David4507/ Amanda Beard Nude Pics,  1810,
March 12, 2009, at 09:35 AM by jonn2 - fhNpPJFiQFzfQz
Changed line 1 from:
iZ8jFP  <a href="http://dergvftgnowb.com/">dergvftgnowb</a>, [url=http://zyfltwtpiwfx.com/]zyfltwtpiwfx[/url], [link=http://qnfdomvfzsua.com/]qnfdomvfzsua[/link], http://hwsjmqrqecml.com/
to:
comment5, <a href="http://www.viddler.com/explore/James7573/">American Idol Naked</a>, [url="http://www.viddler.com/explore/James7573/"]American Idol Naked[/url], http://www.viddler.com/explore/James7573/ American Idol Naked,  sggdcz, <a href="http://www.viddler.com/explore/Brandon9205/">Amanda Bynes Nude</a>, [url="http://www.viddler.com/explore/Brandon9205/"]Amanda Bynes Nude[/url], http://www.viddler.com/explore/Brandon9205/ Amanda Bynes Nude,  trtbrt, <a href="http://www.viddler.com/explore/Justin6175/">Alyssa Milano Nude</a>, [url="http://www.viddler.com/explore/Justin6175/"]Alyssa Milano Nude[/url], http://www.viddler.com/explore/Justin6175/ Alyssa Milano Nude,  dehz, <a href="http://www.viddler.com/explore/Noah0568/">American Idol Porn</a>, [url="http://www.viddler.com/explore/Noah0568/"]American Idol Porn[/url], http://www.viddler.com/explore/Noah0568/ American Idol Porn,  lbs, <a href="http://www.viddler.com/explore/Alexander8713/">Alyssa Milano Naked</a>, [url="http://www.viddler.com/explore/Alexander8713/"]Alyssa Milano Naked[/url], http://www.viddler.com/explore/Alexander8713/ Alyssa Milano Naked,  %PPP, <a href="http://www.viddler.com/explore/Juan8972/">American Idol Sex Tape</a>, [url="http://www.viddler.com/explore/Juan8972/"]American Idol Sex Tape[/url], http://www.viddler.com/explore/Juan8972/ American Idol Sex Tape,  kdpavc, <a href="http://www.viddler.com/explore/Matthew1402/">Alyson Hannigan Nude</a>, [url="http://www.viddler.com/explore/Matthew1402/"]Alyson Hannigan Nude[/url], http://www.viddler.com/explore/Matthew1402/ Alyson Hannigan Nude,  >:-(, <a href="http://www.viddler.com/explore/Christian5947/">American Idol Nudes</a>, [url="http://www.viddler.com/explore/Christian5947/"]American Idol Nudes[/url], http://www.viddler.com/explore/Christian5947/ American Idol Nudes,  :OO, <a href="http://www.viddler.com/explore/Dylan6342/">American Idol Nude Photos</a>, [url="http://www.viddler.com/explore/Dylan6342/"]American Idol Nude Photos[/url], http://www.viddler.com/explore/Dylan6342/ American Idol Nude Photos,  3690, <a href="http://www.viddler.com/explore/James6341/">Amanda Bynes Naked</a>, [url="http://www.viddler.com/explore/James6341/"]Amanda Bynes Naked[/url], http://www.viddler.com/explore/James6341/ Amanda Bynes Naked,  360, <a href="http://www.viddler.com/explore/Robert2649/">Amanda Beard Naked</a>, [url="http://www.viddler.com/explore/Robert2649/"]Amanda Beard Naked[/url], http://www.viddler.com/explore/Robert2649/ Amanda Beard Naked,  otcg, <a href="http://www.viddler.com/explore/Eric7558/">Amanda Tapping Nude</a>, [url="http://www.viddler.com/explore/Eric7558/"]Amanda Tapping Nude[/url], http://www.viddler.com/explore/Eric7558/ Amanda Tapping Nude,  qwkynr, <a href="http://www.viddler.com/explore/Hunter4822/">American Idol Nude</a>, [url="http://www.viddler.com/explore/Hunter4822/"]American Idol Nude[/url], http://www.viddler.com/explore/Hunter4822/ American Idol Nude,  710, <a href="http://www.viddler.com/explore/Tyler6999/">American Idol Nude Pics</a>, [url="http://www.viddler.com/explore/Tyler6999/"]American Idol Nude Pics[/url], http://www.viddler.com/explore/Tyler6999/ American Idol Nude Pics,  =OOO, <a href="http://www.viddler.com/explore/Connor9893/">American Idol Nude Pictures</a>, [url="http://www.viddler.com/explore/Connor9893/"]American Idol Nude Pictures[/url], http://www.viddler.com/explore/Connor9893/ American Idol Nude Pictures,  8), <a href="http://www.viddler.com/explore/Daniel1844/">Amanda Peet Nude</a>, [url="http://www.viddler.com/explore/Daniel1844/"]Amanda Peet Nude[/url], http://www.viddler.com/explore/Daniel1844/ Amanda Peet Nude,  =)), <a href="http://www.viddler.com/explore/Dylan5365/">Amanda Beard Nude</a>, [url="http://www.viddler.com/explore/Dylan5365/"]Amanda Beard Nude[/url], http://www.viddler.com/explore/Dylan5365/ Amanda Beard Nude,  :))), <a href="http://www.viddler.com/explore/Eric7057/">American Pie Naked Mile</a>, [url="http://www.viddler.com/explore/Eric7057/"]American Pie Naked Mile[/url], http://www.viddler.com/explore/Eric7057/ American Pie Naked Mile,  rkf, <a href="http://www.viddler.com/explore/Kevin0596/">Amatuer Porn Videos</a>, [url="http://www.viddler.com/explore/Kevin0596/"]Amatuer Porn Videos[/url], http://www.viddler.com/explore/Kevin0596/ Amatuer Porn Videos,  xgt, <a href="http://www.viddler.com/explore/David4507/">Amanda Beard Nude Pics</a>, [url="http://www.viddler.com/explore/David4507/"]Amanda Beard Nude Pics[/url], http://www.viddler.com/explore/David4507/ Amanda Beard Nude Pics,  1810,
March 11, 2009, at 02:17 AM by jkpunkgg - OYDkRJyJuRjzSRwuLDy
Changed line 1 from:
r5BiBz  <a href="http://fwetgxwtsnbw.com/">fwetgxwtsnbw</a>, [url=http://hphkoimbtlmh.com/]hphkoimbtlmh[/url], [link=http://ryndstecovfp.com/]ryndstecovfp[/link], http://jxmvqtfvkflx.com/
to:
iZ8jFP  <a href="http://dergvftgnowb.com/">dergvftgnowb</a>, [url=http://zyfltwtpiwfx.com/]zyfltwtpiwfx[/url], [link=http://qnfdomvfzsua.com/]qnfdomvfzsua[/link], http://hwsjmqrqecml.com/
February 28, 2009, at 08:45 PM by cgyewgexg - TAwJQUMPR
Changed line 1 from:
Gcgt3e  <a href="http://mbcgdhohmqlr.com/">mbcgdhohmqlr</a>, [url=http://dbvhrppqohci.com/]dbvhrppqohci[/url], [link=http://qwcbwmykgoed.com/]qwcbwmykgoed[/link], http://cecsfujqpgzx.com/
to:
r5BiBz  <a href="http://fwetgxwtsnbw.com/">fwetgxwtsnbw</a>, [url=http://hphkoimbtlmh.com/]hphkoimbtlmh[/url], [link=http://ryndstecovfp.com/]ryndstecovfp[/link], http://jxmvqtfvkflx.com/
February 12, 2009, at 02:01 AM by thjciarpy - vXItQlxkcDsNjTwuMVZ
Changed lines 1-16 from:
%bgcolor=black color=white define=nb%

(
:noright:)
(:div class=
"storagetable":)

||
==1==  ?moving at ease?||==2==    To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.||==3== ?moving at ease?|| || || || ||==8==    We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==    Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==    Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==    It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==    You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==    This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==    There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==    The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==    As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==    "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==    Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||

(:divend:)

foo

[[{$FullName}?action=edit|Edit this page]]
to:
Gcgt3e  <a href="http://mbcgdhohmqlr.com/">mbcgdhohmqlr</a>, [url=http://dbvhrppqohci.com/]dbvhrppqohci[/url], [link=http://qwcbwmykgoed.com/]qwcbwmykgoed[/link], http://cecsfujqpgzx.com/
August 13, 2008, at 04:02 PM by 213.214.53.110 -
Added lines 13-14:

foo
November 30, 2007, at 07:05 PM by 87.65.215.190 -
Changed lines 6-10 from:
||==1== ?moving at ease?||==2==    To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==    We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==    Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==    Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==    It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==    You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==    This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==    There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==    The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==    As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==    "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==    Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
to:
||==1==  ?moving at ease?||==2==     To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.||==3== ?moving at ease?|| || || || ||==8==     We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==     Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21==   You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==     Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==     It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==     You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==     This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==     There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==     The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==     As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==    "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==     Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
November 30, 2007, at 06:51 PM by 87.65.215.190 -
Changed lines 6-10 from:
||==1==   blah||==2==  To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==  We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==  Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21== You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==  Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==  It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==  This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==  There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==  The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==  As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==  "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==  Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
to:
||==1== ?moving at ease?||==2==   To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==   We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==   Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==   Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==   It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==   You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==   This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==   There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==   The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==   As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==    "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==   Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
November 30, 2007, at 06:33 PM by 87.65.215.190 -
Changed lines 6-10 from:
||==1==  blah||==2==  To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==  We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==  Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21== You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==  Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==  It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==  This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==  There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==  The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==  As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==  "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==  Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
to:
||==1==   blah||==2==   To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==   We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==   Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21== You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==   Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==   It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==   You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==   This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==   There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==   The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==   As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==  "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52==   Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
November 30, 2007, at 06:33 PM by 87.65.215.190 -
Changed lines 6-10 from:
||==1== blah||==2== To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8== We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20== Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
|| || || || || ||==26== Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28== It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30== You told me once upon a time that I could ask
the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34== This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38== There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44== The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46== As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50== "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of
the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52== Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
to:
||==1==  blah||==2==  To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8==  We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20==  Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
||==21== You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || || ||==26==  Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28==  It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30==  You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34==  This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38==  There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44==  The text is telling us. The story inhabits me. Reading becomes
the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46==  As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50==  "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one
could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52== Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
November 30, 2007, at 06:27 PM by 87.65.215.190 -
Changed lines 6-10 from:
|| ||To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
|| || || || || ||Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||As if we were afraid to conceive of the Other in the time of our own thought. || || || ||"It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
to:
||==1== blah||==2== To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||==8== We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||==20== Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
|| || || || || ||==26== Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||==28== It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||==30== You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||==34== This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||==38== There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||==44== The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||==46== As if we were afraid to conceive of the Other in the time of our own thought. || || || ||==50== "It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||==52== Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||
November 30, 2007, at 04:06 PM by 87.65.215.190 -
Added lines 1-14:
%bgcolor=black color=white define=nb%

(:noright:)
(:div class="storagetable":)

|| ||To render reading as a public matter doesn’t just mean to read in public or to approach the public by means of reading. Both the act of reading as well as the mode of being public must be altered. In writing something like a book through this reading machine, we also might aim for new forms of collective expression.|| || || || || ||We will have to get back to the paper at one point. We will have two possibilities to comment a text, one that would run through the text, without altering its graphical structure, the other would be its rewriting. None impact or radical transformation – in question here is the intensity of both aspects.|| || || || || || || || || || || ||Who was being questioned? Who was answering? One became the other. The words spoke by themselves. The silence entered them, an excellent refuge, since I was the only one who noticed it.||
|| || || || || ||Despite its indeterminacy, how could we relate this experience of language, which opens up, following Agamben, to a community “with neither presuppositions nor a state”, with the question of a time of reading that could be called redemptive? What usage, habit or custom of reading is at our disposal here? The direction, in which an answer to these questions might be found, leads me to the notion of play and my initial question concerns this transcription of reading: What exactly does it mean to conceive of reading as a matter of playing?|| ||It is still there, the thought, like an echo, as though it were at the other end of the nave of a great silent church (that of time?) and had sent back to me not the sound but the "wave of a presence." Thus it "echoed," so to speak, in the silence, this idea which had gone, but which is now inside the great church. Strangely enough I was delighted to be the only one to know that I had had this thought, so ordinary in other respects, but rendered peculiarly majestic, imperial, by its resonance||
|| ||You told me once upon a time that I could ask the impossible of you, this very threshold, the hesitation to enter, to step inside or the demand to treat any approach with reserve, all that necessary suspension that might result in being infiltrated: style, gesture, manner - and lead to mimicry (impossible mimicry, elementary madness)- to be affirmed|| || || ||This substitution no longer knows a place of its own, but the taking-place of every single being is always already common - an empty space offered to the one, irrevocable hospitality.|| || || ||There are only relations of movement and rest, speed and slowness between unformed elements, or at least between elements that are relatively unformed, molecules, and particles of all kinds. There are only haecceities, affects, subjectless individuations that constitute collective assemblages. […] We call this plane, which knows only longitudes and latitudes, speeds and haecceities, the plane of consistency or composition (as opposed to a plan(e) of organization or development).||
|| || || || || ||The text is telling us. The story inhabits me. Reading becomes the kind of silence (eine Stille, ohne Laut, ohne Geräusch) that runs through us.||
|| ||As if we were afraid to conceive of the Other in the time of our own thought. || || || ||"It is very hard to write a book. Because each book is two-dimensional. I wanted this book to be characterized by a feature that does not fit under any circumstances into the two-dimensionality of the printing element. This demand has two sides. First it supposes that the bundle of these essays is not to be regarded successively. In any case I wished that one could perceive them all at the same time, simultaneously, because they finally represent a set of sectors, which are arranged around a general, determining point of view and aligned to different areas. On the other hand I wanted to create a spatial form that would make it possible to step f_rom each contribution directly into another and to make apparent their interconnection… Such a synchronic manner of circulation and mutual penetration of the essays could be carried out only in the form… of a sphere. But unfortunately books were not written as spheres… I can only hope that they will be read after the method of mutual reversibility, according to a spherical method - in expectation that we will learn to write books like rotating balls. The books we have now are like soap-bubbles. Particularly on art." Sergei Eisenstein’s diary August 5, 1929|| ||Marks and comments on the margin or even within the text as traces of such a reading, “moving at ease”, these gestures do not simply attempt to appropriate a given text, but rather in taking-place they would first of all render language in its mere capacity to communicate.|| || || || ||

(:divend:)

[[{$FullName}?action=edit|Edit this page]]

Tools

Edit - History - Print - Recent Changes - Search
Page last modified on November 25, 2009, at 11:58 PM
Search: