Monthly Archives: July 2010

walk it off



hand-drawn mapswalking art


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1. The Migratory Bird Treaty Act of 1918 prohibits the removal of all listed species or their parts (feathers, eggs, nests, etc.) from private property such as trees or buildings.

2. Birdnest Morphology, aka Comparative Caliology

Professor Rennie, in his little volume entitled “Bird Architecture,” written almost a century ago, took his cue from Aristophanes, an ancient Greek dramnatist, and introduced the birds as artisians accordinig to the form or nature of their nests: miners, masonis, carpenters, basket-makers, weavers, tailors, cementers, felt-makers and parasites; also grounid, platform and dome-builders […] —Burns, Frank L. The Philosophy of Birds’ Nests and Comparative Caliology in Consideration of Some Local Nidicolous Birds. The Wilson Bulletin, Vol. 36, No. 2 (Jun., 1924), p 81.

3. Behavior of Turdus Migratorius: nest-building, vocalizations
The nest is most commonly located 1.5–4.5 meters (5–15 ft) above the ground in a dense bush or in a fork between two tree branches, and is built by the female alone. The outer foundation consists of long coarse grass, twigs, paper, and feathers. This is lined with smeared mud and cushioned with fine grass or other soft materials. A new nest is built for each brood, and in northern areas the first clutch is usually placed in an evergreen tree or shrub while later broods are placed in deciduous  trees.  The American Robin does not shy away from nesting close to human habitation. [ . . . ]
In addition to its song, the American Robin has a number of calls used for communicating specific information. When a ground predator approaches but does not directly threaten, Robins will make a PEEK!! tut tut tut tut… warning call, often preceded by an explosive seeech each-each-each. When a nest or Robin is being directly threatened, another he-he-he-he call is used, which sounds like a horse’s whinny.

Dawn song of the American Robin

4. Robin Egg Blue
… in human culture: In the bandana code subculture, wearing a pale robin egg blue colored bandana means that one is looking for someone with whom to perform 69.


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What do you call an artifact from a future imaged in a past?

Cutting into this picture I experienced the snippet of dialogue below, by interrupting I was able to excerpt it from the narrative sense of the film for which it was produced. The way I initially experienced it was that a small group of human time travelers born in the 20th century were transported to early medieval England and were privately reminiscing about their home timeline. We the viewer witnesses the dispossession of their static and unassailable memory storage through failures of retrieval. The impression was that a rational self-present modern person able to perform with great competence according to all the signs of his world (acquiring and maintaining kingship) was unknowingly assimilating to medieval ways of understanding reality, especially that of his own past experience. Theoretically, social consciousness overdetermines individual consciousness in a seemingly fourfold way: collective social consciousness and individual social consciousness each revises the imagination, memory, and thought of rational egos taken both individually and collectively.

The social determination of consciousness (and its historical variation) seem very crucial to what Deleuze & Guattari mean by their concept of a social machine.

King Arthur: I had troubling dreams when I did sleep, Gawain. Tell me, was it those Wright Brothers who discovered radio?

Sir Gawain: I take doubt Your Highness, that was uh– that was Babe Ruth.

King Arthur: [small groan] And Uncle Milty was– will be the first man to fly, correct?

Sir Gawain: I believe he invents the horse and carriage, Sir. […] Or I dosed off for that period. I wonder if he couldn’t be trained as your court jester. He tells the best lies we’ve ever heard at the table.

King Arthur: True, true.

Sir Gawain: Better than even Sir Mordred.

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dead american woman

An interpretation of the film in which the roles represent the relation between the actors (persons including the audience) and the characters (the narrative elements):
Virginia Slim as the Director
Daddy/Daughter as the Cinematographer
Happy as the Artist
Demons as the Aesthetes
Virginia Slim’s repressed lesbianism as the Filmmaker/Director’s artistic cynicism

Other assets of the film documented from post-screening discussion:
The flat motive-driven characters were not limited to their depth or authenticity, so they could become representatives of action without introspection. Such a film ought to present only different aspects of the same totality, insofar as true conflict is intra-directional –’an obstacle represents at least two forces pitted against each other but they are no less coordinated’. The symbolic characters existed as functions without being flippant or overemotional.

On the relation between our Depressive Society and the Dead Mother

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ctrl+z cont.

buy zach mugs, tshirts and magnets

1. Zach
#1. A name of a person who is often smart, cunning, dresses well and likes to have fun. A party goer that attracts many people with his intellect, jokes, and good smile. #2. A name of a person who likes to fool around and be with his friends, often very caring about others and has no problem dealing with tools.
My boy Zach likes to play beer pong at the college fraternity perties, he is the life of the party.

2. zach
It is a person’s name.
See, Zach? I wrote a definition. Stop saying “What does Zach mean?” now.

3. zach
Zach- N. literally translated to… the great women seducer.. in ancient the Greek language. Usually having an urge to have sex for more then 7 hours.
V. To have sex with women for more than 7 hours. To have millions of your potential children die all over your girlfriends face.
N. You are such a Zach. Said to a friend after they hooked up with a hot girl.
N. Dude, I’m having a Zach right now, lets call some whores.
V. I just had zach.
V. Dude, I just zached all over her face.

4. zach
He is the coolest mate ever! he satisfys my needs and is always there for me. he’s sexy, careing, naughty, sweet. and at the same time he can be an ass just enough to make you smile and not piss you off.
Zach is my soul mate

5. zach
Used to describe the coolest person in the world. Zach is a loveable, kind, benevolent person. Also someone who you could have intercourse with for seven hours.
Zach is so adorable.

6. zach
one who fingers girls for fun at corn mazes….is a big flirt and all he wants is to get in her pants
that guy is such a zach!

7. zach
the coolest person in the world, next to God. revered as one of the best people to know by many scientists around the world. he is so cool that everyone wants to meet him and all the hot chick want to be near him.
zach z, the coolest person that ever has touched the face of the earth

8. Zach
#1 He is an incredible person #2 He is amazingly good looking #3 You will never meet anyone like him #4 Once you’ve met him you will never forget him #5 usually could be considered ‘strange’. #6 Love the colors green, black, and white #7 Is the funniest and most fun person i be around. #8 someone you could fall in love with easily. #9 likes to walk to Cuba at 10pm and plays with My little Pony XD #10 -whispers- and I also heard he had a really hott girlfriend 😉
Woah. I can’t believe Zach asked me out he is way to amazing for me.

9. Zach
The most amazing guy I have ever met in my whole life. Makes you laugh anytime you’re feeling down. Has an adorable/handsome face and smile. He can be flirty at times, but you learn to love it. He is also easy to become best friends with, and will stay on the phone with you and listen to all your girly problems without complaint. And is the funniest person alive. And will buy you something and yell at you if you even try to pay him back. And i love him to death XD
Zach: -whispers- I love you (fast)
Me: i love you too… (giggles)

10. Zach
One of the most amazing men ever. Sexy as hell, amazing in bed, will make you fall in love with him in days. Will make you want to have his children in weeks. Likes pool sex, WoW, and hearing his girl moan. Loves Charlotte unconditionally. Is totally unavailable to any girls reading this because he’s getting married to this girl.
Zach, I fucking love you so much.

11. Zach
An Immortal; One that is not easily defeated.
Don’t act like you’re Zach or something.

12. Zach
Zach a shorter version of Zachary the more classy spelling variation as apposed to Zack
Literally means the great woman seducer in greek and the lord remembers in hebrew. Zach’s always have a great package if not then they are deserving of the name Tyler. Mostly non-conformist and doesn’t like rap.
Tool: Zach is a dork
Normal person: then that makes you a fag

13. Zach
The coolest most trill crunked up white gangsterever
Is that Zach? Damn he’s a legend man

14. Zach
a hot guy that is always happy and has many friends that love him and would do any thing for him. he would give you the shirt off his back, or his hoodie if you are cold. he is not afraid of anything and would do anything for his friends(including murder if his friends get hurt). often gloomy bc of the problems in his life but he puts all that aside for his friends so that they can be happy. if you have his love (truely have his love) then consider yourself the luckiest person alive. great kisser, awesome in bed “sex god”
“What happened to her? Someone call Zach!”

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Intentional communities
1.1 Purpose
1.2 Types of communities
1.3 Types of memberships
1.4 Type of governance

1. common property
2. communal rearing
3. rotating laboring activities
4. athletics and aesthetics
5. group members as siblings, sexual imprinting

How intimate is the link between the nature of a society and how its children are raised?
–Bettelheim. The Children of the Dream. p1.

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Lindsay Lawson’s Das Ding 2010, 3:39



concepts akin to but different from desire:

  1. élan vital
  2. intentionality, sense, direction
  3. anticipation
  4. matrixial borderspace
  5. objective
  6. motivation
  7. need, demand, drive
  8. will
  9. is-ought
  10. cause (efficient, formal, material, final)
  11. conatus
  12. eros
  13. passion, instinct, hunger, lust, longing, attraction, want, preference, limerence

Agnes, like a marionette out of Kleist, only without strings, now watches strings emerging from her in every direction: she rejects her breasts, her vagina, he eyes for seeing, her hands for touching. —Deleuze. Two Regimes of Madness. p109.

In this volume I have reviewed and critiqued the evolution of the Humean conception of the self in mid- to late-twentieth century Anglo-American moral philosophy through close attention to its use in the hands of several of its leading proponents, as they have developed its foundational notion of desire in response to certain basic dilemmas this conception generates. I have tried to track the ways in which the notion of desire has proliferated from the commonsense, prereflective concept of a desire, to that of desire as a theoretical construct, to that of desire as a dispositional response, to that of an unconscious desire, to that of a behaviorally revealed desire, to that of an internally coherent system of desires, to that of cardinally and then ordinally ranked desires, to the distinction between motivated and unmotivated desires, to that between first- and higher-order desires, to that between self-directed and other-directed desires, to that between object-dependent, principle-dependent, and conception-dependent desires, to that between blindfolded and fully informed desires. And I have tried to show that none of these sophisticated epicyclic refinements of the fundamental notion of a desire solve or avoid the basic dilemmas this notion engenders. —Piper, Adrian. Rationality and the Structure of the Self. Volume I: The Humean Conception. Chapter XV. Seven Dogmas of Humeanism.

The Kantian Theory of Desire. Anti-Oedipus can be said to find its primary model in the Critique of Practical Reason, since it was Kant who first defined the faculty of desire as a productive faculty (“a faculty which, by means of its representations, is the cause of the actuality of the objects of those representations”). We know why Kant defined desire in terms of production: the problem of freedom concerns the operation by which a free being can be the cause of something that is not reducible to the causal determinism of mechanism. Of course, Kant was aware that real objects could be produced only by an external causality and external mechanisms; in what he called “pathological” productions of desire, what is produced is merely a psychic reality (having a fantastic, hallucinatory, or delirious object) (AO25). Nonetheless, this was Kant’s Copernican Revolution in practical philosophy: desire is no longer defined in terms of lack (I desire something because I don’t have it), but rather in terms of production(I produce the object because I desire it). The fundamental thesis of Anti-Oedipus is a stronger variant of Kant’s claim; Kant pushed to his necessary conclusion: “If desire produces, its product is real,” and not merely a fantasy. “There is no particular form of existence that can be labeled ‘psychic reality’”. Indeed, Deleuze states this conclusion in explicitly Lacanian terms: “The objective being of desire is the Real in and of itself” (the subject itself is a product of desire). —Smith, Daniel. The Inverse Side of the Structure.

Martin Hilpoltsteiner: (MoFrames) Flamenco, 1:14

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