His Rock Is His Thing

Main.HisRockIsHisThing History

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December 02, 2008, at 09:55 AM by 75.156.164.38 -
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For readers of Walter Benjamin's discussion of art the photograph is the image of how modernity is reproduced; the image is the culmination of all those enlightenment metaphors. For us and for interactivity we can't use the photograph - it is too visual, though it does always look back nostalgically as Barthes has pointed out. Instead we substitute a gesture and propose the click of the button as the move of the neoBaroque because it is a gesture repeated everywhere in the night light of computing. It is the clicking of keys as I type. It is the virtual buttons on my iPod Touch. It is the clicking of links on web page - the mouseDown that shows you have the button engaged and the mouseUp that triggers the "message" that intercepted by the object script runs the appropriate method. Clicking is the interface between our gesture and that coded behind the mirror to interact with us. We are not reflected in view but in process. 
to:
For readers of Walter Benjamin's discussion of art the photograph is the image of how modernity is reproduced; the image is the culmination of all those enlightenment metaphors. For us and for interactivity we can't use the photograph - it is too visual, though it does always look back nostalgically as Barthes has pointed out. Instead we substitute a gesture and propose the click of the button as the move of the neoBaroque because it is a gesture repeated everywhere in the night light of computing. It is the clicking of keys as I type. It is the virtual buttons on my iPod Touch. It is the clicking of links on web page - the mouseDown that shows you have the button's attention and the mouseUp that triggers the "message" that intercepted by the object script runs the appropriate machine process. Clicking is the interface between our gesture and that coded behind the button to interact with us. We are not reflected in view but in process. 
December 02, 2008, at 09:52 AM by 75.156.164.38 -
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[[#Note1]] All the quotes are from the last page of "The Myth of Sisyphus", page 91.
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[[#Note1]]'''Note 1:''' All the quotes are from the last page of "The Myth of Sisyphus", page 91.
December 02, 2008, at 09:52 AM by 75.156.164.38 -
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%center%"His rock is his thing." [[#1 |#]]
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%center%"His rock is his thing." [[#Note1 |#]]
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[[#1]] All the quotes are from the last page of "The Myth of Sisyphus", page 91.
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[[#Note1]] All the quotes are from the last page of "The Myth of Sisyphus", page 91.
December 02, 2008, at 09:51 AM by 75.156.164.38 -
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%center%"His rock is his thing." [[#1 | 1]]
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%center%"His rock is his thing." [[#1 |#]]
December 02, 2008, at 09:46 AM by 75.156.164.38 -
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%center%"His rock is his thing." [#1 | 1]
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%center%"His rock is his thing." [[#1 | 1]]
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[#1] All the quotes are from the last page of "The Myth of Sisyphus", page 91.
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[[#1]] All the quotes are from the last page of "The Myth of Sisyphus", page 91.
December 02, 2008, at 09:46 AM by 75.156.164.38 -
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%center%"His rock is his thing."
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%center%"His rock is his thing." [#1 | 1]
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[#1] All the quotes are from the last page of "The Myth of Sisyphus", page 91.

----
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Camus, Albert. ''The Myth of Sisyphus & Other Essays''. Trans. Justin O'Brien. New York: Vintage Books, 1955. All the quotes are from the last page of the essay, page 91.
to:
Camus, Albert. ''The Myth of Sisyphus & Other Essays''. Trans. Justin O'Brien. New York: Vintage Books, 1955.
December 02, 2008, at 09:43 AM by 75.156.164.38 -
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On a leisurely rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an story of meaning after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill behind his rolling rock. His meaning and his happiness are his rock. There is no escaping that rock because without the time of push work there wouls be no time left between for reflection. In the pivotal turn back and the re-turn down, there is time to reflect on your fate in the middle, again, of business. Such is life up and down in the underworld.
to:
On a leisurely rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as a story of meaning after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill behind his rolling rock. His meaning and his happiness are his rock. There is no escaping that rock because without the time of push work there would be no time left between for reflection. In the pivotal turn back and the re-turn down, there is time to reflect on your fate in the middle, again, of business. Such is life up and down in the underworld.
Changed lines 10-11 from:
In the play of translations where a word like "rock" brought from English to translate "rocher" from French brings unintended meanings (into play), "rock" reminds me of play, in its simple sense of repetitive movement, as in "playing with a button". Not that Sisyphus is playing condemned as he is to his fate. Sisyphus is not playing because he can't escape the absurd pushing and returning, even if absurd repetition, when voluntary, can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then respite of return when you have the leisure to think again.
to:
In the play of translations where a word like "rock" brought from English to translate "rocher" from French brings unintended meanings (into play), "rock" reminds me of play, in its simple sense of repetitive movement, as in "playing with a button". Not that Sisyphus is playing condemned, it is after all his fate. Sisyphus is not playing because he can't escape the absurd pushing and returning, even if absurd repetition, when voluntary can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then the evening respite of return when you have the leisure to think again.
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I want to push this myth further along to become the story of interactivity. If the age of enlightenment was under the gaze of vision, the present neon-baroque epoch is under the push of the button. The button, whether it is the On button on your iPod or the button on the screen, is the simplest sign of interactivity. Looking at that which is lit up by taste and knowledge was the approach of the "flaneur" philosopher up to the age of rock. Now is the age when our ironic vision flickers and we feel the hard pulsing sound of rock, a sound that pounds us to participate.

This neon-baroque age is one specific type of the many post-modernisms that follow a neoclassical or modern age. Just as all
the previous baroques, this age is baroque in its spectacular excess, as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its playful repetition, and that is where the rock of Sisyphus returns - this age comes and goes itself pushed away and rolling back. It is not an age with clean edges that can be said to have started then with Camus because it is fated to repeatedly play with modernity. What is different about each returning baroque is the acceleration of return and repetition. Like a cheap neon light this age has begun to flicker we alternate so fast. Sisyphus took his time rolling rocks up and had (some) time for reflection on the way down. With our ubiquitous twittering technology we flip between work and leisure so fast there is no reflection, just flicker. I'm afraid we will fool ourselves into thinking this flicker is animation, that faster rocking is better life.

Vision is a paradigm for an age aware
of distance which hopes that there is progress over the horizon. Rocking is how we respond to the possibility that all is repetition, that distance has been erased and that there is no better or worse just alternation. Rocking is in repetition including the repetition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your fate of a life, the one thing you made while rocking and rolling.

For readers of Walter Benjamin's discussion of art the photograph
is the image of how modernity is reproduced; the image is the culmination of all those enlightenment metaphors. For us and for interactivity we can't use the image - it is too visual. Instead we substitute a gesture and propose the click of the button as the gesture of neon-baroque because it is a gesture repeated everywhere in the night light of computing. It is the clicking of keys as I type. It is the clicking of links on web page. It is the virtual buttons on my iPod Touch.

For artists
the shift from modern to neon-baroque is the shift from catching a gaze in a photograph to now grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, action, and interactivity have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of poking someone or turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Lev Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do until we die. For Camus there is still a way to imagine happiness by finding our freedom not in the absurdity of the repetitive act, but in the returning turn.

Sisyphus is the myth of our night age the way Narcissus was the myth of reflected modernity. His rock is his thing ... not just in the sense of that boulder he rolls again and again, but also in our mistranslated sense of the movement back and forth that can
be play or work (or alternate between play and work). The freedom turned, such as it is, is only ours. It is the play in the system in the sense of the looseness of buttons you can fiddle, even if that doesn't change their states. It is the play of words that don't translate the way functions do.
to:
I want to push this myth further along to become the story of interactivity. If the age of enlightenment was under the gaze of vision, the present neoBaroque epoch is under the push of the button. The button, whether it is the On button on your iPod or the stylized simularcra on the screen, is the simplest sign of interactivity. If the "flaneur" was the modern wastrel looking at the arcades lit up by his taste, the neoBaroque surfer-slacker is a clicker and masher of buttons. It was flaneurs and tourists up to the age of rock; now is the age when our ironic liquid crystal vision flickers and we feel the hard pulsing sound of subwoofers, a sound that pounds us into participation.

This neoBaroque age is really one specific type of
the many post-modernisms that follow a classical or modern age. Just as all the previous baroques, this age is particular in its spectacular excess. It is also baroque in its playful repetition, and that is where the rock of Sisyphus returns - this age comes down and goes back up. It is pushed away by serious work and rolls back when we turn. It is not an age with clean edges that can be said to have started then with Camus because it is fated to repeatedly play hide-and-seek with modernity. What is different about each returning baroque is the acceleration of return and repetition. Like a cheap neon light this age has begun to flicker as we alternate faster. Sisyphus took his time rolling rocks up and had (some) time for reflection on the way down. With our ubiquitous twittering technology we flip between work and leisure so fast there is no reflection, just flicker. I'm afraid we will fool ourselves into thinking this flicker is animation - the giving of life - that faster rocking is better life.

Vision
is a paradigm for an age aware of distance which hopes that there is progress over the horizon. Vision is the first way to collapse distance by seeing more and more through theory. Rocking is how we respond to the possibility that all is repetition, that distance has been erased and that there is no better or worse just alternation. Rocking is in repetition including the repetition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and walk down your fate of a life, the one thing you made while rocking and rolling.

For readers of Walter Benjamin's discussion of art the photograph is the image of how modernity is reproduced;
the image is the culmination of all those enlightenment metaphors. For us and for interactivity we can't use the photograph - it is too visual, though it does always look back nostalgically as Barthes has pointed out. Instead we substitute a gesture and propose the click of the button as the move of the neoBaroque because it is a gesture repeated everywhere in the night light of computing. It is the clicking of keys as I type. It is the virtual buttons on my iPod Touch. It is the clicking of links on web page - the mouseDown that shows you have the button engaged and the mouseUp that triggers the "message" that intercepted by the object script runs the appropriate method. Clicking is the interface between our gesture and that coded behind the mirror to interact with us. We are not reflected in view but in process. 

For artists
the shift from modern to neoBaroque is the shift from catching a gaze in a photograph to now grasping of a process in code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, action, and interactivity have all become tractable, and therefore repeatable, in our retooled baroque age and the clicking is the simplest way of poking someone or turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Lev Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do until we die. For Camus there is still a way to imagine happiness by finding our freedom not in the absurdity of the repetitive act, but in the returning turn.

Sisyphus is the myth of our night age the way Narcissus was the myth of reflected modernity. His rock is his thing ... not just in the sense of that boulder he rolls again and again, but also in our mistranslated sense of the rocking back and forth that can be play or work (or alternate between play and work). The freedom turned, such as it is, is only ours. It is the play in the system in the sense of the looseness of buttons you can fiddle, the turn of handles before the lock engages, or the mouseDown without the triggering mouseUp; these moments of play that don't yet
change their states. It is the play of words that don't translate the way functions do.
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Camus had this right, we don't need anything more than the struggle up and rock down. There may be nothing more until death, but that alternation is still something.
to:
Camus had this right, we don't need anything more than the struggle up and rock down. There may be nothing more until death, but that alternation is still something. In the wiggle room between clicking down and letting go to the machine there is moment of imagination.
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Barthes, Roland. ''Camera Lucida': Reflections on Photography''. Trans. Richard Howard. New York: Hill and Wang, 1981.

Benjamin, Walter. "Art in the Age of Mechanical Reproduction". Trans. Andy Blunden. http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

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to:
Manoich, Lev. ''The Language of New Media''. Cambridge, MA: MIT Press, 2001. http://www.manovich.net/LNM/index.html

Ndalianis, Angela.  ''Neo-Baroque Aesthetics and Contemporary Entertainment''. Cambridge, MA: MIT Press, 2005. http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10721




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This neon-baroque age is one specific of many post-modernisms that follow a neoclassical or modern age. Just as all the previous baroques, this age is baroque in its spectacular excess, as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its rapid repetition, and that is where the rock of Sisyphus returns - this age comes and goes itself. It is in play with modernity. What is different about this returning baroque is the acceleration of repetition. Like a cheap neon light this age has begun to flicker we alternate so fast. Sisyphus took his time rolling rocks up and had (some) time for reflection on the way down. With our ubiquitous twittering technology we flip between work and leisure so fast there is no reflection, just a neon flicker.

Just how different is this age? Vision is for an age of distance which hopes that there is progress over the horizon. Rocking
is how we respond to the possibility that all is repetition - that there is no better or worse just alternation. Rocking is in repetition including the repetition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your fate of a life, the one thing you made while rocking and rolling.

For readers of Walter Benjamin's discussion of art the photograph is
the image of how modernity is reproduced, for us the push of the button is the gesture for how the neonbaroque is repeated in the underworld night with the baroque. The catching of a gaze in the graph is replaced by the grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do, finding our freedom not in the act, but in the turn.

Sisyphus is the myth of our dark age the way Narcissus was the myth of reflected modernity. His rock is his thing ... not just in the sense of that ''rocher'' he rolls again and again, but also in our mistranslated sense of the movement
back and forth that can be play or work, or alternate between play and work. The freedom turned, such as it is, is only ours. It is the play in the system in the sense of the looseness of buttons you can fiddle, even if that doesn't change their states. It is the play of words that don't translate the way functions do.
to:
This neon-baroque age is one specific type of the many post-modernisms that follow a neoclassical or modern age. Just as all the previous baroques, this age is baroque in its spectacular excess, as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its playful repetition, and that is where the rock of Sisyphus returns - this age comes and goes itself pushed away and rolling back. It is not an age with clean edges that can be said to have started then with Camus because it is fated to repeatedly play with modernity. What is different about each returning baroque is the acceleration of return and repetition. Like a cheap neon light this age has begun to flicker we alternate so fast. Sisyphus took his time rolling rocks up and had (some) time for reflection on the way down. With our ubiquitous twittering technology we flip between work and leisure so fast there is no reflection, just flicker. I'm afraid we will fool ourselves into thinking this flicker is animation, that faster rocking is better life.

Vision
is a paradigm for an age aware of distance which hopes that there is progress over the horizon. Rocking is how we respond to the possibility that all is repetition, that distance has been erased and that there is no better or worse just alternation. Rocking is in repetition including the repetition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your fate of a life, the one thing you made while rocking and rolling.

For readers of Walter Benjamin's discussion
of art the photograph is the image of how modernity is reproduced; the image is the culmination of all those enlightenment metaphors. For us and for interactivity we can't use the image - it is too visual. Instead we substitute a gesture and propose the click of the button as the gesture of neon-baroque because it is a gesture repeated everywhere in the night light of computing. It is the clicking of keys as I type. It is the clicking of links on web page. It is the virtual buttons on my iPod Touch.

For artists the shift from modern to neon-baroque is the shift
from catching a gaze in a photograph to now grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, action, and interactivity have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of poking someone or turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Lev Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do until we die. For Camus there is still a way to imagine happiness by finding our freedom not in the absurdity of the repetitive act, but in the returning turn.

Sisyphus is the myth of our night age the way Narcissus was the myth of reflected modernity. His rock is his thing ... not just in the sense of that boulder he rolls again and again, but also in our mistranslated sense of the movement back and forth that can be play or work (or alternate between play and work)
. The freedom turned, such as it is, is only ours. It is the play in the system in the sense of the looseness of buttons you can fiddle, even if that doesn't change their states. It is the play of words that don't translate the way functions do.
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Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can (:input submit name=post value="ROCK WELL" accesskey=g:).
to:
Camus had this right, we don't need anything more than the struggle up and rock down. There may be nothing more until death, but that alternation is still something.
Changed lines 14-21 from:
I want to push this myth further along to become the story of interactivity. If the age of enlightenment was under the gaze of vision, the present neon baroque epoch is under the push of the button. The button, whether it is the On button on your iPod or the button on the screen, is the simplest sign of interactivity. Looking at that which is lit up by taste and knowledge was the approach of the "flaneur" philosopher up to the age of rock. Now is the age when our ironic vision flickers and we feel the hard pulsing sound of rock, a sound that we can participate in.

The baroque is one specific of many post-modernisms that follow a neoclassical or modern age. Just as all the previous baroques this age is baroque in its excess as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its rapid repetition. What is different about this returning baroque is the acceleration of repetition. Like a cheap

Vision
is for an age of distance which hopes that there is progress over the horizon. Rocking is how we respond to the possibility that all is repetition - that there is no better or worse. Rocking is in repetition including the repitition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your life, the one thing you made while rocking and rolling.

If Benjamin's photograph is the image of
how modernity is reproduced in the light of modern day, the push of the button is a gesture for how the neonbaroque is repeated in the underworld night with the baroque. The catching of a gaze in the graph is replaced by the grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do, finding our freedom not in the act, but in the turn.
to:
I want to push this myth further along to become the story of interactivity. If the age of enlightenment was under the gaze of vision, the present neon-baroque epoch is under the push of the button. The button, whether it is the On button on your iPod or the button on the screen, is the simplest sign of interactivity. Looking at that which is lit up by taste and knowledge was the approach of the "flaneur" philosopher up to the age of rock. Now is the age when our ironic vision flickers and we feel the hard pulsing sound of rock, a sound that pounds us to participate.

This neon-baroque age is one specific of many post-modernisms that follow a neoclassical or modern age. Just as all the previous baroques, this age is baroque in its spectacular excess, as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its rapid repetition, and that is where the rock of Sisyphus returns - this age comes and goes itself. It is in play with modernity. What is different about this returning baroque is the acceleration of repetition. Like a cheap neon light this age has begun to flicker we alternate so fast. Sisyphus took his time rolling rocks up and had (some) time for reflection on the way down. With our ubiquitous twittering technology we flip between work and leisure so fast there is no reflection, just a neon flicker.

Just how different is this age? Vision is for an age of distance which hopes that there is progress over the horizon. Rocking is
how we respond to the possibility that all is repetition - that there is no better or worse just alternation. Rocking is in repetition including the repetition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your fate of a life, the one thing you made while rocking and rolling.

For readers of Walter Benjamin's discussion of art the photograph is the image of how modernity is reproduced, for us the push of the button is the
gesture for how the neonbaroque is repeated in the underworld night with the baroque. The catching of a gaze in the graph is replaced by the grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do, finding our freedom not in the act, but in the turn.
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!!!Theorizing the Myth of Sisyphus, One Interactive Button, and a Bad Joke
to:
!!!Playing with the Myth of Sisyphus, One Interactive Button, and the Flicker of the Baroque
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In the leisurely bath I only get on a Saturday morning, rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an image of rocking meaning out of life after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill his rock has rolled. His meaning and his happiness is his rock: there is no escaping that rock as there would be no time between for reflection without the time of pushing with your hands. In the pivotal turn back and the re-turn down there is a walking over your fate in the middle, again, of busy repetitive work. Such is life in the underworld.
to:
On a leisurely rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an story of meaning after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill behind his rolling rock. His meaning and his happiness are his rock. There is no escaping that rock because without the time of push work there wouls be no time left between for reflection. In the pivotal turn back and the re-turn down, there is time to reflect on your fate in the middle, again, of business. Such is life up and down in the underworld.
Changed lines 10-11 from:
In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for "rocher" in English reminds us of play, in its simple sense of repetition, as in "playing with a button". His rocking is his thing - Sisyphus is not playing because he can't escape the absurd pushing and returning, but absurd repetition, when voluntary can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then the turn back with its moment of respite when you have the leisure to think again.
to:
In the play of translations where a word like "rock" brought from English to translate "rocher" from French brings unintended meanings (into play), "rock" reminds me of play, in its simple sense of repetitive movement, as in "playing with a button". Not that Sisyphus is playing condemned as he is to his fate. Sisyphus is not playing because he can't escape the absurd pushing and returning, even if absurd repetition, when voluntary, can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then respite of return when you have the leisure to think again.
Changed lines 14-15 from:
I want to push this myth further to act as the gesture of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock. Now is the age when our vision dims and we participate with hard sound rather than watch with irony.
to:
I want to push this myth further along to become the story of interactivity. If the age of enlightenment was under the gaze of vision, the present neon baroque epoch is under the push of the button. The button, whether it is the On button on your iPod or the button on the screen, is the simplest sign of interactivity. Looking at that which is lit up by taste and knowledge was the approach of the "flaneur" philosopher up to the age of rock. Now is the age when our ironic vision flickers and we feel the hard pulsing sound of rock, a sound that we can participate in.

The baroque is one specific of many post-modernisms that follow a neoclassical or modern age. Just as all the previous baroques this age is baroque in its excess as Angela Ndalianis points out in ''Neo-Baroque Aesthetics and Contemporary Entertainment.'' It is also baroque in its rapid repetition. What is different about this returning baroque is the acceleration of repetition. Like a cheap

Changed lines 24-30 from:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can
[=<FORM>
<BUTTON name
="submit" value="submit" type="submit">ROCK WELL</BUTTON>
</FORM>=]

[[http://dontclick.it | rock well]]
.
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can (:input submit name=post value="ROCK WELL" accesskey=g:).
Changed line 25 from:
<FORM>
to:
[=<FORM>
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</FORM>
to:
</FORM>=]
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Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can [=<BUTTON>ROCK WELL</BUTTON>=]
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can
<FORM>
<BUTTON name
="submit" value="submit" type="submit">ROCK WELL</BUTTON>
</FORM>

Changed lines 24-25 from:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can <BUTTON>ROCK WELL</BUTTON>
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can [=<BUTTON>ROCK WELL</BUTTON>=]
Changed lines 2-3 from:
!!!The Play of Sisyphus, One Interactive Button, and a Bad Joke
to:
!!!Theorizing the Myth of Sisyphus, One Interactive Button, and a Bad Joke
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Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can [[http://dontclick.it | rock well]].
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can <BUTTON>ROCK WELL</BUTTON>

[[http://dontclick.it | rock well]].
Changed lines 24-25 from:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock [[well]].
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can [[http://dontclick.it | rock well]].
Changed lines 2-3 from:
!!!The Play of Sisyphus and the Interactive Button
to:
!!!The Play of Sisyphus, One Interactive Button, and a Bad Joke
Changed lines 24-25 from:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock well. (By now I'm out of my bath and typing bad jokes.)
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock [[well]].
Changed lines 24-25 from:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock well. (By now I'm out of my bath and typing bad jokes.)
Changed lines 24-25 from:
Camus had this right, we don't need anything more than the struggle up and down. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
to:
Camus had this right, we don't need anything more than the struggle up and rock down. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
Changed lines 1-2 from:
!His Rock is His Thing: The Play of Sisyphus and the Interactive Button
to:
!His Rock is His Thing
!!!The Play of Sisyphus and the Interactive Button
Changed lines 13-14 from:
I want to push this myth further to act as the gesture of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock when our vision dimmed and hard sound and participatory dancing was how youth engaged.
to:
I want to push this myth further to act as the gesture of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock. Now is the age when our vision dims and we participate with hard sound rather than watch with irony.
Changed lines 23-24 from:
Camus had this right. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
to:
Camus had this right, we don't need anything more than the struggle up and down. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
Changed lines 27-28 from:
An in that imagining we do.
to:
An in that imagining we volunteer to play even if we had no choice.
Changed lines 13-14 from:
I want to push this myth further to act as the image of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock when our vision dimmed and hard sound and participatory dancing was how youth engaged.
to:
I want to push this myth further to act as the gesture of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock when our vision dimmed and hard sound and participatory dancing was how youth engaged.
Changed lines 9-10 from:
In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for "rocher" in English reminds us of play, in its simple sense of repetition, as in "playing with a handl". His rocking is his thing - Sisyphus is not playing because he can't escape the absurd pushing and returning, but absurd repetition, when voluntary can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then the turn back with its moment of respite when you have the leisure to think again.
to:
In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for "rocher" in English reminds us of play, in its simple sense of repetition, as in "playing with a button". His rocking is his thing - Sisyphus is not playing because he can't escape the absurd pushing and returning, but absurd repetition, when voluntary can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then the turn back with its moment of respite when you have the leisure to think again.
Changed lines 5-6 from:
In the leisurely bath I only get on a Saturday morning, rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an image of rocking meaning out of life after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill his rock has rolled. His meaning and his happiness is his rock - there is no escaping that as there would be no time between for reflection without the time of pushing with your hands. In the pivotal turn back down and the re-turn down there is a walking over your fate in the middle, again, of busy repetitive work.
to:
In the leisurely bath I only get on a Saturday morning, rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an image of rocking meaning out of life after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill his rock has rolled. His meaning and his happiness is his rock: there is no escaping that rock as there would be no time between for reflection without the time of pushing with your hands. In the pivotal turn back and the re-turn down there is a walking over your fate in the middle, again, of busy repetitive work. Such is life in the underworld.
Added lines 1-2:
!His Rock is His Thing: The Play of Sisyphus and the Interactive Button
Changed lines 15-18 from:
If Benjamin's photograph is the image of how modernity is reproduced in the modern day, the push of the button is how the neonbaroque is reproduced at night with the baroque. The catching of a gaze in the graph is replaced by the catching of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action has all become tractable in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like binary lights. Our interactivity is machined to be rolled up and down, and that's what we do, finding our freedom not in the act, but in the turn.

Sisyphus is the myth of our age the way Narcissus was the myth of modernity. His rock is his thing
... not just in the sense of that rocher he rolls again and again, but also in our mistranslated sense of the movement back and forth that can be play or work or alternate between play and work. 
to:
If Benjamin's photograph is the image of how modernity is reproduced in the light of modern day, the push of the button is a gesture for how the neonbaroque is repeated in the underworld night with the baroque. The catching of a gaze in the graph is replaced by the grasping of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action have all become tractable, and therefore repeatable, in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like flashing neon lights. Our interactivity is machined to be rolled up and down, repeated over and over, from level to level, and that's what we do, finding our freedom not in the act, but in the turn.

Sisyphus is the myth of our dark age the way Narcissus was the myth of reflected modernity. His rock is his thing ... not just in the sense of that ''rocher'' he rolls again and again, but also in our mistranslated sense of the movement back and forth that can be play or work, or alternate between play and work. The freedom turned, such as it is, is only ours. It is the play in the system in the sense of the looseness of buttons you can fiddle, even if that doesn't change their states. It is the play of words that don't translate the way functions do.

Changed lines 21-22 from:
Camus had this right. If his rock is his thing, then what matters for the absurd man, is whether he can rock well.
to:
Camus had this right. If his rock is his thing, then what matters for the absurd, is whether he can rock well.
Added lines 25-26:
An in that imagining we do.
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%center%->"Sisyphus returning towards his rock, in that slight pivoting he contemplates that series of unrelated actions which becomes his fate ..."
to:
%center%"Sisyphus returning towards his rock, in that slight pivoting he contemplates that series of unrelated actions which becomes his fate ..."
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%center%"His rock is his thing." Camus, "The Myth of Sisyphus"
to:
%center%"His rock is his thing."
Added lines 25-29:
----
Camus, Albert. ''The Myth of Sisyphus & Other Essays''. Trans. Justin O'Brien. New York: Vintage Books, 1955. All the quotes are from the last page of the essay, page 91.


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"Each atom of that stone, each mineral flake of that night-filled mountain
to:
%center%"Each atom of that stone, each mineral flake of that night-filled mountain, in itself forms a world. The struggle itself towards the heights is enough to fill a man's heart."
Added lines 23-24:
%center%"One must imagine Sisyphus happy."
Changed lines 7-22 from:
In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for  in English reminds us of play, in its simple sense of repetition. His rocking is his thing.
to:
In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for "rocher" in English reminds us of play, in its simple sense of repetition, as in "playing with a handl". His rocking is his thing - Sisyphus is not playing because he can't escape the absurd pushing and returning, but absurd repetition, when voluntary can be play. The myth of Sisyphus is instead the image of the relationship between work and play - the pushing work uphill and then the turn back with its moment of respite when you have the leisure to think again.

%center%"I leave Sisyphus at the foot of the mountain! One always finds one's burden again."

I want to push this myth further to act as the image of interactivity. If the enlightenment was under the gaze of vision, the neonbaroque epoch we are in is under the push of the button. Looking at that which is lit up by taste and knowledge was the stance of the "flaneur" philosopher up to the age of rock when our vision dimmed and hard sound and participatory dancing was how youth engaged.

Vision is for an age of distance which hopes that there is progress over the horizon. Rocking is how we respond to the possibility that all is repetition - that there is no better or worse. Rocking is in repetition including the repitition we all know from everyday life between the pushing chores and the bits of quiet in between when you can turn, look back (because there is no forward to look forward to) and survey your life, the one thing you made while rocking and rolling.

If Benjamin's photograph is the image of how modernity is reproduced in the modern day, the push of the button is how the neonbaroque is reproduced at night with the baroque. The catching of a gaze in the graph is replaced by the catching of a process in a code, something inaugurated when Turning showed us how algorithms can be quantized and machined. Movement, play, and action has all become tractable in our retooled baroque age and the button is the simplest way of turning something on (or off) - that rocking back and forth of states of the digital age. We think with interactivity we have freedom, but as Manovich reminds us, we have the interactivity of buttons which just rock us back and forth between pre-determined states like binary lights. Our interactivity is machined to be rolled up and down, and that's what we do, finding our freedom not in the act, but in the turn.

Sisyphus is the myth of our age the way Narcissus was the myth of modernity. His rock is his thing ... not just in the sense of that rocher he rolls again and again, but also in our mistranslated sense of the movement back and forth that can be play or work or alternate between play and work. 

"Each atom of that stone, each mineral flake of that night-filled mountain

Camus had this right. If his rock is his thing, then what matters for the absurd man, is whether he can rock well.

Added lines 1-7:
%center%"His rock is his thing." Camus, "The Myth of Sisyphus"

In the leisurely bath I only get on a Saturday morning, rereading "The Myth of Sisyphus" I was struck by how Camus uses the myth as an image of rocking meaning out of life after god. Camus imagines the moments when Sisyphus is free to reflect as he walks back down the hill his rock has rolled. His meaning and his happiness is his rock - there is no escaping that as there would be no time between for reflection without the time of pushing with your hands. In the pivotal turn back down and the re-turn down there is a walking over your fate in the middle, again, of busy repetitive work.

%center%->"Sisyphus returning towards his rock, in that slight pivoting he contemplates that series of unrelated actions which becomes his fate ..."

In the play of translations where a word brought from one language to translate another brings unintended meanings (into play), "rock" for  in English reminds us of play, in its simple sense of repetition. His rocking is his thing.
Page last modified on December 02, 2008, at 09:55 AM - Powered by PmWiki

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