23 files changed, 80 insertions, 4 deletions

diff --git a/aux.otx b/aux.otx
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--- /dev/null
+++ b/aux.otx
@@ -0,0 +1,5 @@
+\def\novellalayout{
+  \sdef{_pgs:novella}{(5.25,8.25)in}
+  \margins/2 fold (0.65,0.5,0.6,0.7)in
+  \footlinedist=12pt
+}
diff --git a/database_knowledgebase.otx b/database_knowledgebase.otx
index ae976e5..271af49 100644
--- a/database_knowledgebase.otx
+++ b/database_knowledgebase.otx
@@ -61,6 +61,10 @@ One of the greatest data collections in history to date is the 1974 Global Atmos
 
 \Q{Are there any limits to miniaturization? Anyone making predictions in 1944 would have extrapolated existing technology---that is, improving the vacuum tube---and he would have been wrong. The invention of the transistor in 1948 completely changed the entire basis of electronics. One reason why the transistor was \dq{unforeseen} at the time was that in 1944 there was as yet no such thing as \dq{materials science.} The invention of the transistor required the refinement of a technique for preparing materials of less than a few parts per billion harmful impurities, and the utilization of special techniques to prepare highly perfect crystals.
 
+\midinsert
+\centerline{\picw=3in\inspic{trns.png}}
+\endinsert
+
 If there is next to be a major change it may come with \dq{integrated optics.} Integrated optical circuits can be laid down in thin films in much the same way as integrated electronic circuits. These thin films, however, use miniature lasers, lenses, prisms, light switches, and light modulators. Since the frequency of light is some 10,000 times higher than the highest frequency of an electronic device, the amount of information that can be carried by a light signal is correspondingly greater. Moreover, optical circuits are in principal considerably faster than electronic circuits.}
 \Qs{Ibid., p. 37.}
 
@@ -143,6 +147,12 @@ Commercial applications have been quickly operationalized by banks and corporati
 
 The most sophisticated transmission-links remain classified. But two corporations and one government agency are collaborating in design and construction of a planetary system:
 
+\midinsert
+\centerline{\picw=3in\inspic{term.png}}
+\cskip
+\caption/f{Courtesy of Texas Instruments.}
+\endinsert
+
 \Q{The most important single aid to this evolution now being planned is SBS---Satellite Business Systems---a company formed by IBM, Comsat (the US communications satellite company) and Aetna Life Insurance Company. Its plans have been shrouded in discreet corporate public relations for several year, perhaps awaiting the outcome of the 1979 WARC,\foots{World Administrative Radio Conference} since its life depends upon the allocation of a suitable set of frequencies in the 12-14 gigahertz band which has been set aside for ground to satellite data links, both for direct broadcasting and fixed satellites. SBS has been `grandfathering' a frequency in this band (squatting on it prior to allocation, in the hope that its right to continue using the frequency will be eventually conceded) since 1978\ld\ At this point SBS, firmly seated on the spectrum and capable of generating and processing a much greater volume of traffic than that afforded by US intra-corporate business will be able to move into the field of international mail and telephone connection, replacing the cumbersome unreliable services of many countries with instant and reliable communication, both on paper and in sound. The whole of filing systems of corporations around the world could be stored in IBM computers situated anywhere in the world. Where data links are presently costly and clogged with traffic between continents and across oceans they will become ridiculously cheap, by traditional standards, and plentiful.}
 \Qs{Ibid., p. 136.}
 
diff --git a/eies.otx b/eies.otx
index 032b461..f6910f5 100644
--- a/eies.otx
+++ b/eies.otx
@@ -220,7 +220,7 @@ Each \dq{reality} opens upon the realm of the semi-factual, bringing into bas re
 
 The following originates with paradigm-fragments that have remained with the \e{bricoleur,} that have impressed themselves upon his intuition, having passed through the private filters of subjective validation. For example, from something as crusty as Hobbes' \booktitle{Leviathan} this strange rhyme: \dq{Words are wise men's counters; they do but reckon by them; but they are the money of fools.} Here is another chard, another refracting \dq{mind-facta} to rub against the Hobbesian assessment: \dq{The words remained in his heart like a burning fire} and \dq{because ye speak this word, behold, I will make my words in thy mouth fire, and his people wood, and it shall devour them.} (Jeremiah 10:9, 5:14). Metaphors enfolding back on language are in a class by themselves because they speak with what they point at. This is especially acute when the messaging system is exclusively textual. Jeremiah and Hobbes both suggest a \e{cor irrequietem} hovering around the capacity for language, for words. They imply a restless discontent growing into anxiety over their apparent power.
 
-\ehdr{[]}{}{Re: \dq{The eye believes and its communion takes} ---Wallace Stevens}
+\ehdr{[]}{}{Re: \dq{The eye believes and its communion takes}\fnote{Wallace Stevens}}
 
 Problematically, art fluctuates between the optical and haptic. To receive a tactile sensation by simply seeing something vs. the haptic reconversion of the sensation: the felt is seen. Haptic is that element in the aesthetic experience that is grasped independently of optical-formal considerations (interpretations). Teleconferencing (as a network of bricoleurs) is haptic-simply incapable, as yet to seriously address the optical dimension. The felt in this case is a mode of discourse: a collective text building up from initial definitions.
 
@@ -297,6 +297,13 @@ I think this information is of the greatest interest both for its conceptual imp
 \Q{What semiotics has discovered is that the law governing or, if one prefers, the major constraint affecting any social practice lies in the fact that it signifies; i.e., that it is articulated like a language.}
 \Qs{Julia Kristeva}
 
+\midinsert
+\centerline{\picw=3in\inspic{bollee.png}}
+\cskip
+\caption/f Léon Bollée with his multiplier. Only a few of the massive machines were sold, one of them to the Belgion Ministry of Railroads. Bollée's long career as an inventor behan at the age of thirteen when he patented an unsinkable aquatic bicycle. (An Englishman named Rigby rode it across the English Channel.) He followed this success with others, among them a cash register and a machine which distributed railway tickets. When Wilbur Wright came to France in 1908 to demonstrate his airplane, Bollée  placed his automobile factory at Wright's disposal.
+Bollée 
+\endinsert
+
 \ehdr{[]}{}{Teleconference as Small Group}
 
 \sideblock{An aside: Thus far Brendan's text assumes the characteristic identity of the cybernetic adept. It has pointed out and defined the cybernetic controls lodged in the value system created by this exchange. The \e{bricoleur} accepts and adopts these definitions, in the main; where he feels an urge to add or (presumes to) modify a definition he will enter into the glossary of terms next to the existing definition(s).}
@@ -536,4 +543,10 @@ I am interested in Bateson, for example, because within his work are the rudimen
 
 One recent example of \dq{expansion of the aesthetic text} is the appropriation of the context of sculpture which allowed artists to see sculptural form in processes, activities, and events extended and disembodied in time and space. This clear conceptual leap brings into existence a new object and creates a new ontology by which to \dq{frame} new objects.
 
-The questions we are addressing here (and I take many of Frank's entries this way) are procedural: How do we formulate, by our participation in a teleconference, a poetics of thought and interaction that gives content to new concepts of shapeliness? Are these concepts immanent in the technology or do they rather adhere to the climate of mind around these instruments? The technology seems to offer a way of reconceptualizing the realm of the mind; since art-making and the total experience of art seems most like a form of thought, if our models of the mind and organism evolve, so must the ecology of art. 
\ No newline at end of file
+The questions we are addressing here (and I take many of Frank's entries this way) are procedural: How do we formulate, by our participation in a teleconference, a poetics of thought and interaction that gives content to new concepts of shapeliness? Are these concepts immanent in the technology or do they rather adhere to the climate of mind around these instruments? The technology seems to offer a way of reconceptualizing the realm of the mind; since art-making and the total experience of art seems most like a form of thought, if our models of the mind and organism evolve, so must the ecology of art. 
+
+\topinsert
+\centerline{\picw=3.5in\inspic{harmanal.png}}
+\cskip
+\caption/f A precursor of the modern digital computer: replica of the Michelson-Stratton harmonic analyzer. Developed in 1989, the machine was capable of handling Fourier series of 80 terms. Fed the Fourier coefficients of a trigonometric series, it could produce a graph of the sum function and also perform the reverse process. (IBM)
+\endinsert
\ No newline at end of file
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diff --git a/img/harmanal.png b/img/harmanal.png
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diff --git a/img/harmonic.png b/img/harmonic.png
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diff --git a/img/homeo.png b/img/homeo.png
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diff --git a/img/neumann.png b/img/neumann.png
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diff --git a/img/peirce.png b/img/peirce.png
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diff --git a/img/shansecsys.jpg b/img/shansecsys.jpg
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diff --git a/img/term.png b/img/term.png
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diff --git a/img/tranz.png b/img/tranz.png
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diff --git a/img/trns.png b/img/trns.png
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diff --git a/img/vocal1.png b/img/vocal1.png
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--- /dev/null
+++ b/img/vocal1.png
diff --git a/img/vocal2.png b/img/vocal2.png
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diff --git a/img/vocal3.png b/img/vocal3.png
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diff --git a/img/vocal4.png b/img/vocal4.png
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diff --git a/planet.otx b/planet.otx
index b959ea7..89c38f4 100644
--- a/planet.otx
+++ b/planet.otx
@@ -74,6 +74,13 @@ It is undoubtedly, a historically constituted division. For, even with the sixth
 \Q{It is also clear that many of the tests used for measuring \dq{intelligence} are scored essentially according to the candidate's power of appropriate selection. Thus one test shows the child a common object and asks its name: out of all words the child must select the proper one. Another test asks the child how it would find a ball in a field; out of all the possible paths the child must select one of the suitable few. Thus it is not impossible that what is commonly referred to as \dq{intellectual power} may be equivalent to \dq{power of appropriate selection.} Indeed, if a talking Black Box were to show high power of appropriate selection in such matters---so that, when given difficult problems it persistently gave correct answers---we could hardly deny that it was showing the behavioral equivalent of \dq{high intelligence.} If this is so, and as we know that power of selection can be amplified, it seems to follow that intellectual power, like physical power, can be amplified. Let no one say that it cannot be done, for the gene-patterns do it every time they form a brain that grows up to be something better than the gene---pattern could have specified in detail. What is new is that we can now do it synthetically, consciously, deliberately.}
 \Qs{W. Ross Ashby, \booktitle{An Introduction to Cybernetics}}
 
+\topinsert
+\hbox{}\vfill
+\centerline{\picw=3.5in\inspic{peirce.png}}
+\caption/f{A letter from Charles S. Peirce to his former student Allan Marquand contains the first known description of a switching circuit designed to perform logic.}
+\vskip 1in
+\endinsert
+
 \break
 \sec messages numbered between 383 and 877
 
@@ -192,6 +199,9 @@ The following \dq{random} points are intended to serve as a radical-traditional
 *  The teleconference can be defined as a network of multiple connections, involving complexity, order, and hierarchy. Any private world of perceptual/cognitive activity depends upon self-defined comprehension of the whole. It can function as the theater for establishing root metaphors and analogies introduced by the unique conceptual pressures encountered in the teleconference itself. For instance, adapting ordinary language, in addition to various specialist lexicons and argots, to the novel purposes of this activity. For instance, translating certain mythical forces from their lost redemptive power to a redefined descriptive power.
 
 *  Taking off from the physicist Margenau's concept of the \dq{Requirement of Multiple Connections} the premise is that through their definitions, constructs enter into relations with each other. The interest here leaves aside, at least for the moment, the origin and focuses on the character of the connections which constructs may enter (each conferencee represents a constellation of such constructs). These may be of two types, \e{formal} and \e{epistemic.}
+
+\vskip 1em
+
 \begitems\spaced
 *  A formal connection is one which sets a construct in a purely logical relation with another construct (construct can be read here as any message which defines a distinct point of view). They are in a sense hypothetical judgements. Classic examples of formal connections: a) the relations between geometric quantities and their axiomatic sources, or b) between the golden mean and its expression in a particular set of angles in a picture plane. One peculiarity of formal connections is that their formal character becomes less obvious (even transparent) when and if they are empirically verified.
 *  An epistemic connection is equivalent to and arises from a rule of correspondence which links the construct with data or evidence. Examples of epistemic connection: a) the relation between a tree and the perception of it b) between a force and an awareness of muscular exertion. One of the terms is a construct, the other is in nature. Connections are also both formal and epistemic in equal degree, as in any graduated experience, from empirical to ideational and back.
@@ -243,6 +253,12 @@ In regard to Brendan's trinity of modes (with its implicit critique of certain W
 As for Brendan's \dq{delicious infection}---I would (driven as it drives me) draw on, in full flush of reference, my very last Kierkegaard: 
 \Q{The individual becomes conscious of himself as being this particular individual with particular gifts, tendencies, impulses, passions, under the influence of a particular environment, as a particular product of his milieu. He who becomes thus conscious of himself assumes all this as part of his own responsibility. At the moment of choice he is thus in complete isolation, for he withdraws from his surroundings; and yet he is in complete continuity, for he chooses himself as product; and this choice is a free choice, so that we might even say, when he chooses himself as product, he is producing himself.}
 
+\midinsert
+\centerline{\picw=3in\inspic{homeostat.png}}
+\cskip
+\caption/f{A diagram of \dq{automatic homeostat} from the notebooks of W. Ross Ashby which he later used in \booktitle{Design for a Brain}.}
+\endinsert
+
 I submit the following as entries in the glossary for this exchange. The connections between these words stem from intuitive contagion, and not necessarily a strict adherence to formal definition. They are essentials (in the cybernetic sense) as transferable to cybernautic activity.
 
 \begitems\spaced\style o
@@ -297,6 +313,12 @@ On a more sinister level, the security of the entire world now rests on the cont
 \break
 \sec messages numbered between 1187 and 1658
 
+\midinsert
+\centerline{\picw=3in\inspic{neumann.png}}
+\cskip
+\caption/f The first page of the first program written for a modern computer. Von Neumann illustrated versatility of the new machine by coding an operation central to business applications---sorting. He illustrated that program step by step in an appendix to his June 30, 1945, report on the design of {\caps Edvac}.
+\endinsert
+
 \phdr{[1187]}{Gillette}{}
 
 \e{Art} said Zola is a \dq{corner of \e{Nature} seen through a temperament.} We have a \dq{field} of temperaments (variously programmed) defining a spread of association and lateral interconnection. Each temperament is amply supplied with its own endemic assumptions and intellectual habits bred by unique and peculiar methods and requirements.
@@ -315,6 +337,12 @@ Among them, in this case, is a susceptibility to a kind of metaphysical pathos,
 *  From the perspective of the Nominalist, an art (or Art) can have no existence apart from its concrete embodiments drawn from the receptacle of traits by which it is defined.
 \enditems
 
+\midinsert
+\centerline{\picw=3in\inspic{harmonic.png}}
+\cskip
+\caption/f Curves drawn by the eighty element harmonic analyzer designed by A.A. Michelson and S.W. Stratton. This is an application of Fourier's principle of harmonic analysis. Roughly speaking, he proved that any continuous curve, no matter how irregular, can be approximated by adding together a number of simple regular curves.
+\endinsert
+
 \phdr{[1201]}{}{}
 
 Science, concerned with processes and \dq{processing} is not properly concerned with substance (that is, it is not concerned with \dq{being} as poetics and certain strains of art are). Hence, it need not be concerned with motivation. All I need know is \e{correlation.} The limits of science, \e{qua science,} do not go beyond the statement that, when certain conditions are met, certain new conditions may be expected to follow. In art, motivation is imbedded in discontinuity---conditions be damned.
@@ -343,10 +371,16 @@ The older schools of thought that developed in China and Central Asia were balan
 
 Jalaluddin Rumi told of man evolving from the crystal, plant, fish, bird, animal, man to angel: storing within the flesh memories of all levels of life. In support of this holistic family tree is a basic proposition from Sufism: 
 \Q{In the realm of phenomena there are only connections without cause: no phenomenon is the cause of another. All causality is in the divine names, in the incessant renewal of their epiphanies. Thus identity of a being does not stem from any empirical continuity of his eternal hexeity. In the realm of the manifest there is only a succession of likes from instant to instant.} 
-\Qs{Henri Corbin, \booktitle{The Creative Imagination of I'bn Arabi}}
+\Qs{Henry Corbin, \booktitle{The Creative Imagination of Ibn ʿArabī}}
 
 Islamic cosmological doctrine is structured on a profound understanding of the psychological behavior of man. This sense of unity is a manifold of conscious patterns constructed to correspond to the physiology and internal geography of the body.
 
+\midinsert
+\centerline{\picw=3in\inspic{shannon.png}}
+\cskip
+\caption/f A page of C.E. Shannon, \essaytitle{Communication Theory of Secrecy Systems,} \journaltitle{Bell Systems Technical Journal} (Oct. 1949).
+\endinsert
+
 \phdr{[1581]}{Gillette}{}
 
 The teleconference seems to possess all the seeds for an authentically new species of \e{semiotic freedom.} This stage represents (in its first primitive forms) the invention of \dq{terms} for another kind of conceptual diversity. The oscillation from metaphor to metonymy and back creates the beginning of \e{syntactics} (intuitions of possible links and permutations) and \e{synecdochic} thinking (the mapping of transforms into motives of search which translate \dq{objects} into \dq{events}).
@@ -360,3 +394,12 @@ The teleconference seems to possess all the seeds for an authentically new speci
 * Compared to Hesse's monks and their bead-computer, this system represents the advance of \e{homo ludens} over \e{australopithecus.} The curve is asymptotic. It ranges from Duns Scotus to the \dq{cut-ups} of William Burroughs. From occult grammars (Kabbalah, I Ching) to particle physics (quarks, quasars), yarrow sticks and Tarot in one sentient ball of wax. From the fundamental Vedantic notion of Sat, Chit, and Ananda (Being, Consciousness, Bliss) to schemes for paying teleconference rent.
 * It is germane to note that the linguistic root of the word \e{religion} derives from \dq{reconnect,} i.e., from the Latin \e{ligare} and \e{religare.} We have barely scratched the surface on the issue of the contradistinct attributes of art and science. Their respective traditions, methods, and truths serve as a fecund nexus with which to begin again and fin again along the riverrun, whence it all begins again.
 \enditems
+
+\midinsert
+\centerline{\picw=1.25in\inspic{vocal1.png} \picw=1.25in\inspic{vocal2.png}}
+
+\centerline{\picw=1.25in\inspic{vocal3.png} \picw=1.25in\inspic{vocal4.png}}
+
+\cskip
+\caption/f One cycle of vocal cord movement at low frequency.
+\endinsert
diff --git a/planet_eies.otx b/planet_eies.otx
index 058de29..5da9cca 100644
--- a/planet_eies.otx
+++ b/planet_eies.otx
@@ -1,5 +1,10 @@
 \input sal.otx
-\margins/2 fold (0.55,0.4,0.65,0.65)in
+\input aux.otx
+
+\novellalayout
+
+\picdir={img/}
+\ilistskipamount=0.5em
 
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 \typoscale[900/]\parindent=0pt\tt%