genera in Barok 2014
B
It can be said that research, as inquiry into a subject-matter, consists of
discrete queries. A query, such as a question about what something is, what
kinds, parts and properties does it have, and so on, can be consulted in
existing documents or generate new documents based on collection of data [in]
the field and through experiment, before proceeding to reasoning [arguments
and deductions]. Formulation of a query is determined by protocols providing
access to documents, which means that there is a
word, another to cluster them, and yet
another to abstract[generalize] the subject-matter of each of these clusters.
Needless to say, this is a craft of a few and these criteria are rarely being
disclosed, despite their impact on research, and more generally, their
influence as conditions for production[making] of a so called _common sense_.
It doesn't take that much to reimagine what a dictionary is and what it could
be, especially having large specialized corpora of texts at hand. These can
also se
roblems from which arguments/deductions start.
These are a definition (όρος), a genus (γένος), a property (ἴδιος), and an
accident (συμβεβηϰόϛ). Porphyry does not explicitly refer _Topics_ , and says
he omits speaking "about genera and species, as to whether they subsist (in
the nature of things) or in mere conceptions only"
8(http://www.ccel.org/ccel/pearse/morefathers/files/porphyry_isagogue_02_translation.htm#C1),
which means he avoids explicating whether he talks about
ver, the work sparked confusion, as
the following passage [suggests]:
> "[I]n each category there are certain things most generic, and again, others
most special, and between the most generic and the most special, others which
are alike called both genera and species, but the most generic is that above
which there cannot be another superior genus, and the most special that below
which there cannot be another inferior species. Between the most generic and
the most special, there are others which are alike both genera and species,
referred, nevertheless, to different things, but what is stated may become
clear in one category. Substance indeed, is itself genus, under this is body,
under body animated body, under which is animal, under animal rational animal,
under
.org/ccel/pearse/morefathers/files/porphyry_isagogue_02_translation.htm#C2))
Porphyry took one of Aristotle's ten categories of the word, substance, and
dissected it using one of his four rhetorical devices, genus. Employing
Aristotle's categories, genera and species as means for logical operations,
for dialectic, Porphyry's interpretation resulted in having more resemblance
to the perceived _structures_ of the world. So they began to bloom.
There were earlier examples, but Porphyry was the most infl
nd, but
should try t o find out what significance they had in the writer's mind.
Second, I realized that all functional or grammatical words (which in my mind
are not 'empty' at all but philosophically rich) manifest the deepest logic of
being which generates the basic structures of human discourse. It is .this
basic logic that allows the transfer from what the words mean today t o what
they meant to the writer.
>
> In the works of every philosopher there are two philosophies: the one which
he consci
actice of searching the web. It is a mechanism not
dissimilar to thought process involved in retrieving particular information
online. And search engines have it built in their indexing algorithms as well.
There is a paper proposing attaching words generated by tf-idf to the
hyperlinks when referring websites 14(http://bscit.berkeley.edu/cgi-
bin/pl_dochome?query_src=&format=html&collection=Wilensky_papers&id=3&show_doc=yes).
This would enable finding the referred content even after the link is de
genera in Elbakyan 2016
cept of intellectual
property - is almost never questioned. That is, whether knowledge can be
someone's property is rarely discussed.
However, our ancestors were even more daring. They did not just question
intellectual property but property in general. That is, there are works in
which we can find the appearance of the idea of communism. There's Thomas
More's _Utopia_ from the 16th century, but actually such works arose much
earlier, even in Ancient Greece where these questions were already been
a certain informational inequality, when,
for example, only students and employees of the most wealthy universities have
full access to scholarly information, while access can be completely lacking
for institutions at the next lower tier and for the general public.
An idea arises: if there isn't private property, then there's no basis for
unequal distribution of wealth. In our case as well: if there's no private
intellectual property and all scholarly publications are nationalized, then
all people
genera in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013
it’s better to say that I was
looking for a medium in which to write, where what I was writing was not
immediately constrained by the form of an academic piece, written alone,
appearing once and late, if at all, or by the form of an email which is generally
of a message sent to specific people, who may or may not appreciate being
hailed or spammed every time something occurs to me.
There was another reason for starting the blog, though. I had already
begun formulating my critique of communicative cap
make the world more free, human and to fight alienation.
To openly display one’s leftism in the Russian historical moment of 2003
was not only a challenge in the sense of an artistic gesture; it also meant
adopting a dissident civic stance. For my generation, this was a kind of return
to Soviet times, when any honest artist was incapable of having anything to
do with official culture. In the same way, for us the contemporary Russian art
establishment had become a grotesque likeness of late-Soviet off
editors would cease to be interested, so whatever
institutional affiliations we might be open to now that we would not have been
several years ago, it remains a delicate balance.
ARCHIVE SCAFFOLDING
NT Sean, you talk very evocatively of AAAAARG as a generative ‘scaffolding’
between institutions. Can you say more about this? Does this image of
scaffolding relate to discourses of media ‘independence’ or ‘institutional
critique’? And if scaffolding is the more abstract aspect of AAAAARG - its
to an Issue, an act of collective bibliography-making. The idea
was that AAAAARG would be an infinite resource, mobilised (and nurtured)
by reading groups, social movements, fringe scholars, temporary projects,
students, and so on.
My history is too general to be accurate and what I’m about to write is too
specific to be true, but I’ll continue anyway: due in part to the seductiveness of
The Coming Insurrection as well as the wave of student occupations beginning in
2009 (many accompanied by emphat
of paper in recent years, and
what ‘material paper represents in immaterial times’. And the sixth chapter
addresses the basis on which print can survive as an infrastructure and a
medium for sharing content and experience, and also as a way of generating
collective practice and alliances. Beyond this book, I’m continuing to research
the relationship between print and online in various forms, especially artistic
ones. Personally, I think this relationship will be one of the pivotal media
arenas
e resource’?
SD It is a romantic way of thinking about books - and a way that I also find
appealing - but of course it’s a characterisation that comes after the fact
of the book; it’s a way that Adorno, Mallarmé, and others have described
and generalised their own experiences with these objects. I see no reason
why future readers’ experiences with various forms of digital publishing
won’t cohere into something similar, feelings of attachment, enclosure,
impenetrability, and so on.
AAAARG is
l (which is on-line extension of the newspaper); we start to
work on the publication and its outcomes inspire work on a new installation;
we plan an action and build a collaboration with new actors and it triggers a
new publication and so on. But in general, the newspaper is used as a medium
of contextualisation and communication with the broader community, and as
an interventionist pressure on mainstream cultural production.
I did not know about Guattari’s ideas here, but I totally agree. Yes, for u
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