mediamaticmediamatic manifest 2003 for a Webvirtual [Proto-arte]

mediamaticmediamatic manifest 2003 for a Webvirtual [Proto-arte]

Artur Matuck School of Communications & Arts University of São Paulo Brazil mediamaticmediamatic manifest 2003

P artially de- writ ten by de- scrip t ing machines av ailable at the site Landscript mediamaticmediamatic manifest

mediacapik fafisest

dediahatic magifejt

mebiamatic ganihest

cediamatic danifesr

meviamafic manifest

mediamatih hapifesk

mekiamatib makifest

mediakatic mapifesc

heciamabiz manipest

mediabatir manivejr

medialakih kanicesk

mediahakir janidemt

mediamasic manibeht

mediamapic manisest

mepiakatir dagivecb

meciamatic mahijesc

mediacktic mansfsst

mediamatic manifept

mediamatic manifrxt

mediamatic manifelt

Rethinking the epistemological distinction between art, science and technology (1)(1)

(1)(1) arscience

ltrscnc (1)(1)

lterscience (1)(1)

abtersriskce (1)(1)

A plurisemiotic vision conceives art, science and technology as non-exclusive dominions of their operators, proposes an epistemological demarking of their interdisciplinary frontiers. Positing the imbrication as a condition for the exponential growth of the creativity factor of their systems, as long as they renew, intermingle and confusionize themselves. (1)(1) Rethinking the epistemological distinction between art, science and technology

A plurisemiotic vision conceives art, science and technology as non-exclusive dominions of their operators, proposes an epistemological demarking of their interdisciplinary frontiers. Positing the imbrication as a condition for the exponential growth of the creativity factor of their systems, as long as they renew, intermingle and confusionize themselves. (1)(1) xxxxxxx Rethinking the epistemological distinction between art, science and technology

(1)(1) A plurisemiotic vision conceives art, science and technology as non-exclusive dominions of their operators, proposes an epistemological demarking of their interdisciplinary frontiers. Positing the imbrication as a condition for the exponential growth of the creativity factor of their systems, as long as they renew, intermingle and confusionize themselves.

Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. (1)(1) Rethinking the epistemological distinction between art, science and technology

(1)(1) Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics.

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics.

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics.

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. alterscience

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. alterscience

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. arscience

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. ltrscnc

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. lterscience

(1)(1) Rethinking the epistemological distinction between art, science and technology Transepistemic projects contaminate thinking systems injecting replicating endemics of self-generating de-structures. Alterscientific writing acts like invading viruses indisciplinating codes and statutes, compressing reconceptualizations through porosities, introducing miniature fragments to provoke artendemics. abtersriskce

(2)(2) Redefining or expanding the place of creativity from the sign to the technology and from technology to socialization

(2)(2) revotecknostgy

(2)(2) revoaechnhlogy

(2)(2) hevotechnoloby

(2)(2) revotecknostgy

The technologies that implement the digital culture mobilize a reinvestigation of the stratified formats of the apparatuses, a reinvention of concepts and tools, a continuous thinking in search for [remediatization, reconceptualization, refiguration]. Each technological apparatus even when broadly utilized and disseminated, still maintains an unexplored potential for actualization in other [possible, differentiated, unheard-of and occasionally improper] formats. (2)(2) Redefining or expanding the place of creativity from the sign to the technology and from technology to socialization

(2)(2) xxxxxxxxx The technologies that implement the digital culture mobilize a reinvestigation of the stratified formats of the apparatuses, a reinvention of concepts and tools, a continuous thinking in search for [remediatization, reconceptualization, refiguration]. Each technological apparatus even when broadly utilized and disseminated, still maintains an unexplored potential for actualization in other [possible, differentiated, unheard-of and occasionally improper] formats.

(2)(2) Redefining or expanding the place of creativity from the sign to the technology and from technology to socialization The technologies that implement the digital culture mobilize a reinvestigation of the stratified formats of the apparatuses, a reinvention of concepts and tools, a continuous thinking in search for [remediatization, reconceptualization, refiguration]. Each technological apparatus even when broadly utilized and disseminated, still maintains an unexplored potential for actualization in other [possible, differentiated, unheard-of and occasionally improper] formats.

In this prospection, the most valued aesthetic creation does not limit itself to a recombination of signs but it is focused instead in the reelaboration of [technological, conceptual, instrumental, artefactual and mathematical] processes. This revotechnology introduces new projects for the production and reelaboration of signs causing alternative forms for [saying, listening, perceiving, acting, writing, interacting, socializing, identitying]. (2)(2) Redefining or expanding the place of creativity from the sign to the technology and from technology to socialization

(2)(2) In this prospection, the most valued aesthetic creation does not limit itself to a recombination of signs but it is focused instead in the reelaboration of [technological, conceptual, instrumental, artefactual and mathematical] processes. This revotechnology introduces new projects for the production and reelaboration of signs causing alternative forms for [saying, listening, perceiving, acting, writing, interacting, socializing, identitying].

(2)(2) Redefining or expanding the place of creativity from the sign to the technology and from technology to socialization In this prospection, the most valued aesthetic creation does not limit itself to a recombination of signs but it is focused instead in the reelaboration of [technological, conceptual, instrumental, artefactual and mathematical] processes. This revotechnology introduces new projects for the production and reelaboration of signs causing alternative forms for [saying, listening, perceiving, acting, writing, interacting, socializing, identitying].

Reconducting the scene of learning to the dual space of interaction (3)(3)

(3)(3) webvirthal

(3)(3) wekvertuil

(3)(3) webvrtl

(3)(3) wbvrtal

The traditional learning space [atelier, studio, academy, school] enlarges, increases, stretches itself into a new individual space of infotelematics and from there to the net-rhizome, the distributed collective of the virtual. The webvirtual space, in which an increasing number of information [images, texts, languages, signs, possibilities] present themselves, incites and requires new strategies to prehend [apprehend, repprehend, reappreheend, sur-prehend]. (3)(3) Reconducting the scene of learning to the dual space of interaction

(3)(3) The traditional learning space [atelier, studio, academy, school] enlarges, increases, stretches itself into a new individual space of infotelematics and from there to the net-rhizome, the distributed collective of the virtual. The webvirtual space, in which an increasing number of information [images, texts, languages, signs, possibilities] present themselves, incites and requires new strategies to prehend [apprehend, repprehend, reappreheend, sur-prehend].

(3)(3) Reconducting the scene of learning to the dual space of interaction The traditional learning space [atelier, studio, academy, school] enlarges, increases, stretches itself into a new individual space of infotelematics and from there to the net-rhizome, the distributed collective of the virtual. The webvirtual space, in which an increasing number of information [images, texts, languages, signs, possibilities] present themselves, incites and requires new strategies to prehend [apprehend, repprehend, reappreheend, sur-prehend].

(3)(3) Reconducting the scene of learning to the dual space of interaction The traditional learning space [atelier, studio, academy, school] enlarges, increases, stretches itself into a new individual space of infotelematics and from there to the net-rhizome, the distributed collective of the virtual. The webvirtual space, in which an increasing number of information [images, texts, languages, signs, possibilities] present themselves, incites and requires new strategies to prehend [apprehend, repprehend, reappreheend, sur-prehend].

(3)(3) Reconducting the scene of learning to the dual space of interaction The process of redefinition of the pedagogical space and of its actants requires continuous investigation, constant search for unconventional ways to integrate carbon and silica. The primordial scene of listening incessantly reflows towards dual spaces that require integrated and occasionally simultaneous performances in the presential and the virtual realms, in the free market of resignification.

(3)(3) xxxxxx Reconducting the scene of learning to the dual space of interaction The process of redefinition of the pedagogical space and of its actants requires continuous investigation, constant search for unconventional ways to integrate carbon and silica. The primordial scene of listening incessantly reflows towards dual spaces that require integrated and occasionally simultaneous performances in the presential and the virtual realms, in the free market of resignification.

The process of redefinition of the pedagogical space and of its actants requires continuous investigation, constant search for unconventional ways to integrate carbon and silica. The primordial scene of listening incessantly reflows towards dual spaces that require integrated and occasionally simultaneous performances in the presential and the virtual realms, in the free market of resignification. (3)(3) Reconducting the scene of learning to the dual space of interaction

(4)(4) Relocating the spectator inside the mediatic apparatus

(4)(4) rhizocammuni

(4)(4) rhazoconmlni

(4)(4) rhhzocomlunity

(4)(4) ehizocomduni

(4)(4) Traditionally, the spectator who finds himself/herself before art [canvas, wall, mirror] becomes a fruitional operational subject that is now inside art, intra-art [performance, installation, communication, spatialization] able to move and act. This process occurs naturally as long as art redefines itself from sign elaboration to technological creativity and from there to socio-machinic and identitying processes. Relocating the spectator inside the mediatic apparatus

(4)(4) Traditionally, the spectator who finds himself/herself before art [canvas, wall, mirror] becomes a fruitional operational subject that is now inside art, intra-art [performance, installation, communication, spatialization] able to move and act. This process occurs naturally as long as art redefines itself from sign elaboration to technological creativity and from there to socio-machinic and identitying processes.

(4)(4) Relocating the spectator inside the mediatic apparatus Traditionally, the spectator who finds himself/herself before art [canvas, wall, mirror] becomes a fruitional operational subject that is now inside art, intra-art [performance, installation, communication, spatialization] able to move and act. This process occurs naturally as long as art redefines itself from sign elaboration to technological creativity and from there to socio-machinic and identitying processes.

(4)(4) Places for spectators are recreated and spectators for other places are also created. Mediamatic, fragmented, enclosed, isolated and terminated processes become continuous, comprehensive and impermanent. Such expanding and rhizocommunitarian processes dissapear as artistic activity. They momentarily lose visibility to resurface when conditions of visuality are transformed. Relocating the spectator inside the mediatic apparatus

(4)(4) Art-research intends to create and maintain conditions allowing new processes, characteristic of the emergent digital culture, to be acknowledged as creative propositions even if they are not similar to the normative processes regarded as art. Relocating the spectator inside the mediatic apparatus

(4)(4) xxxxx Relocating the spectator inside the mediatic apparatus Art-research intends to create and maintain conditions allowing new processes, characteristic of the emergent digital culture, to be acknowledged as creative propositions even if they are not similar to the normative processes regarded as art.

(4)(4) Relocating the spectator inside the mediatic apparatus Art-research intends to create and maintain conditions allowing new processes, characteristic of the emergent digital culture, to be acknowledged as creative propositions even if they are not similar to the normative processes regarded as art.

(5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer

(5)(5) aeta-auuhor

(5)(5) meja-nutfor

(5)(5) meta-asunthor

(5)(5) beta-atthor

To reconsider the artist or cultural operator as a sign-operator individual. To conceive the collective operator who proposes sociotechnical processes for integration. This collective, widely spread, rhizomatic subject de- orders the system, de-authorizes the individual, challenges the semiology of certitudes, through plurilingual multitexts. (5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer

(5)(5) xxxxxxxx Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer To reconsider the artist or cultural operator as a sign-operator individual. To conceive the collective operator who proposes sociotechnical processes for integration. This collective, widely spread, rhizomatic subject de- orders the system, de-authorizes the individual, challenges the semiology of certitudes, through plurilingual multitexts.

(5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer To reconsider the artist or cultural operator as a sign-operator individual. To conceive the collective operator who proposes sociotechnical processes for integration. This collective, widely spread, rhizomatic subject de- orders the system, de-authorizes the individual, challenges the semiology of certitudes, through plurilingual multitexts.

Emerging character in the cultural artistic millieu he or she proposes to create systemic reorderings, successive de-structures. In this prospective, the artist as the meta-author, reveals himself or herself as a system maker, a mediasynthatic creator, an event generator, a process mediator, a multidialogic interlocutor, or even a photographer of hybridizations (man-machine, man-machine-man interactions). (5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer

(5)(5) Emerging character in the cultural artistic millieu he or she proposes to create systemic reorderings, successive de-structures. In this prospective, the artist as the meta-author, reveals himself or herself as a system maker, a mediasynthatic creator, an event generator, a process mediator, a multidialogic interlocutor, or even a photographer of hybridizations (man-machine, man- machine-man interactions).

(5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer Emerging character in the cultural artistic millieu he or she proposes to create systemic reorderings, successive de-structures. In this prospective, the artist as the meta-author, reveals himself or herself as a system maker, a mediasynthatic creator, an event generator, a process mediator, a multidialogic interlocutor, or even a photographer of hybridizations (man-machine, man- machine-man interactions).

(5)(5) Re-inventing the sign-operator artist in order to acknowledge the meta-artist as mediamatic systems proposer Emerging character in the cultural artistic millieu he or she proposes to create systemic reorderings, successive de-structures. In this prospective, the artist as the meta-author, reveals himself or herself as a system maker, a mediasynthatic creator, an event generator, a process mediator, a multidialogic interlocutor, or even a photographer of hybridizations (man-machine, man- machine-man interactions).

(6)(6) Repositioning the art spaces in the mediamatic universe

(6)(6) mediaaenesis

(6)(6) mediageoesis

(6)(6) mvdiagenesis

(6)(6) nedmarenvsii

(6)(6) To redefine the institutional spaces for art [museums, galleries, departments) not as spaces for valuing, for collecting, for memory, but as spaces for intercommunication and multiculturalization instead. In this mediagenetic process, the spaces for artistic production and for exhibitions would become dynamic centers, implementing nuclei of artistic possibilities. Repositioning the art spaces in the mediamatic universe

(6)(6) To redefine the institutional spaces for art [museums, galleries, departments) not as spaces for valuing, for collecting, for memory, but as spaces for intercommunication and multiculturalization instead. In this mediagenetic process, the spaces for artistic production and for exhibitions would become dynamic centers, implementing nuclei of artistic possibilities.

(6)(6) Repositioning the art spaces in the mediamatic universe To redefine the institutional spaces for art [museums, galleries, departments) not as spaces for valuing, for collecting, for memory, but as spaces for intercommunication and multiculturalization instead. In this mediagenetic process, the spaces for artistic production and for exhibitions would become dynamic centers, implementing nuclei of artistic possibilities.

(6)(6) Repositioning the art spaces in the mediamatic universe To redefine the institutional spaces for art [museums, galleries, departments) not as spaces for valuing, for collecting, for memory, but as spaces for intercommunication and multiculturalization instead. In this mediagenetic process, the spaces for artistic production and for exhibitions would become dynamic centers, implementing nuclei of artistic possibilities.

(6)(6) Continuous, open-ended, imprecise, unfinished processes, still pose questions for its own memorization, collecting, filing and valorization. The art space becomes a terminal for intercommunication but endowed with a mnemonic, self-scripting and teleactive system. Repositioning the art spaces in the mediamatic universe

(6)(6) xxxx Repositioning the art spaces in the mediamatic universe Continuous, open-ended, imprecise, unfinished processes, still pose questions for its own memorization, collecting, filing and valorization. The art space becomes a terminal for intercommunication but endowed with a mnemonic, self-scripting and teleactive system.

(6)(6) Repositioning the art spaces in the mediamatic universe Continuous, open-ended, imprecise, unfinished processes, still pose questions for its own memorization, collecting, filing and valorization. The art space becomes a terminal for intercommunication but endowed with a mnemonic, self-scripting and teleactive system.

(7)(7) Reevaluating the merchandise status of an artifact by valuing dynamic processes of movement and expansion.

(7)(7) sacred phraeites

(7)(7) sacred parvshtts

(7)(7) sycred parasites

(7)(7) sacred aurasites

(7)(7) To resist the proprietary status of static, identifiable and permanent objects, sacred parasites of sacrosantic spaces. To invest objectives in dynamic, mutant, collective and performatic objects, those inapprehendable by the market. Those that script themselves in signs and launch themselves into the distance, they reserve and void places for tangible bodies in their mutual encounters. Reevaluating the merchandise status of an artifact by valuing dynamic processes of movement and expansion.

(7)(7) To resist the proprietary status of static, identifiable and permanent objects, sacred parasites of sacrosantic spaces. To invest objectives in dynamic, mutant, collective and performatic objects, those inapprehendable by the market. Those that script themselves in signs and launch themselves into the distance, they reserve and void places for tangible bodies in their mutual encounters.

(7)(7) Reevaluating the merchandise status of an artifact by valuing dynamic processes of movement and expansion. To resist the proprietary status of static, identifiable and permanent objects, sacred parasites of sacrosantic spaces. To invest objectives in dynamic, mutant, collective and performatic objects, those inapprehendable by the market. Those that script themselves in signs and launch themselves into the distance, they reserve and void places for tangible bodies in their mutual encounters.

(8)(8) Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems

(8)(8) de-crimdnal

(8)(8) de-crimidel

(8)(8) d-criminal

(8)(8) d-crimnal

(8)(8) Functions could be alternated between creator and creature, author and reader, programmer and user, since meta-creation programs systems that un-stabilizes permanent roles. The irrepressible implementation of revotechnological processes cannot, however, totally irrupt because technothought remains reserved, the program _ ………. _ proprietary and the culture continues capital-intensive. Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems

(8)(8) Functions could be alternated between creator and creature, author and reader, programmer and user, since meta-creation programs systems that un-stabilizes permanent roles. The irrepressible implementation of revotechnological processes cannot, however, totally irrupt because technothought remains reserved, the program _ ………. _ proprietary and the culture continues capital-intensive.

(8)(8) The reversion from proprietary programmer to the user remains stigmatized through a pseudocampaign, criminalized by so-called subjects-creators of the cultural capital. Terminals are vivified when their potentials for reproduction [dissemination, interrogation, invasion, reelaboration] are fully utilized. The de-criminalized status of the operators arises as a new right in the webvirtual multiverse. Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems

(8)(8) xxxxxx xxxx Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems The reversion from proprietary programmer to the user remains stigmatized through a pseudocampaign, criminalized by so-called subjects-creators of the cultural capital. Terminals are vivified when their potentials for reproduction [dissemination, interrogation, invasion, reelaboration] are fully utilized. The de-criminalized status of the operators arises as a new right in the webvirtual multiverse.

(8)(8) Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems The reversion from proprietary programmer to the user remains stigmatized through a pseudocampaign, criminalized by so-called subjects-creators of the cultural capital. Terminals are vivified when their potentials for reproduction [dissemination, interrogation, invasion, reelaboration] are fully utilized. The de-criminalized status of the operators arises as a new right in the webvirtual multiverse.

(8)(8) Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems The reversion from proprietary programmer to the user remains stigmatized through a pseudocampaign, criminalized by so-called subjects-creators of the cultural capital. Terminals are vivified when their potentials for reproduction [dissemination, interrogation, invasion, reelaboration] are fully utilized. The de-criminalized status of the operators arises as a new right in the webvirtual multiverse.

(8)(8) Resisting [protesting, rejecting, disagreeing] the criminalizing status of [self] replication of [quasi] intelligent systems The reversion from proprietary programmer to the user remains stigmatized through a pseudocampaign, criminalized by so-called subjects-creators of the cultural capital. Terminals are vivified when their potentials for reproduction [dissemination, interrogation, invasion, reelaboration] are fully utilized. The de-criminalized status of the operators arises as a new right in the webvirtual multiverse.

(9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations

(9)(9) art-reseirch

(9)(9) art-reslamch

(9)(9) art-rsrch

(9)(9) rt-resrch

Art-research becomes self-legitimizing, searching for alternative processes to verify values that do not have to be sustained by pseudo-knowers. Meta-art as a conceptual instrument that offers the possibility and the right to create in systemic levels exponentially expanding the field of action and intervention. (9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations

(9)(9) xxxxxxx Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations Art-research becomes self-legitimizing, searching for alternative processes to verify values that do not have to be sustained by pseudo-knowers. Meta-art as a conceptual instrument that offers the possibility and the right to create in systemic levels exponentially expanding the field of action and intervention.

(9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations Art-research becomes self-legitimizing, searching for alternative processes to verify values that do not have to be sustained by pseudo-knowers. Meta-art as a conceptual instrument that offers the possibility and the right to create in systemic levels exponentially expanding the field of action and intervention.

(9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations Art-research becomes self-legitimizing, searching for alternative processes to verify values that do not have to be sustained by pseudo-knowers. Meta-art as a conceptual instrument that offers the possibility and the right to create in systemic levels exponentially expanding the field of action and intervention.

(9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations Art-research becomes self-legitimizing, searching for alternative processes to verify values that do not have to be sustained by pseudo-knowers. Meta-art as a conceptual instrument that offers the possibility and the right to create in systemic levels exponentially expanding the field of action and intervention.

The webvirtual space as an institution for collective expression and communication un-stabilizing legislated and controlled spaces, un-remained. The webvirtual gradually disrupts, its subculture pours out, melts away, prompting itself in the concrete, announcing a bodily re-ordering, extended through the city territories. (9)(9) Re-delimiting the hierarchies between artists, critics, curators by resisting their artcultural authorizations

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) he-lcripting

(10)(10) de-scripcinz

(10)(10) d-scripting

(10)(10) d-scriptng

(10)(10) Writing as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. Writing as a transdialogic, uninterrupted process. Writing as excrescence of alphanumeric keyboards. As randomic programming encounters. Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Writing as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. Writing as a transdialogic, uninterrupted process. Writing as excrescence of alphanumeric keyboards. As randomic programming encounters. Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Writing as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. Writing as a transdialogic, uninterrupted process. Writing as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process Writing as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. Writing as a transdialogic, uninterrupted process. Writing as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process He-lcripting as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. He-lcripting as a transdialogic, uninterrupted process. He-lcripting as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process He-lcripting as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. He-lcripting as a transdialogic, uninterrupted process. He-lcripting as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process He-lcripting as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. He-lcripting as a transdialogic, uninterrupted process. He-lcripting as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process De-scripcinz as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. De-scripcinz as a transdialogic, uninterrupted process. De-scripcinz as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process De-scripcinz as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. De-scripcinz as a transdialogic, uninterrupted process. De-scripcinz as excrescence of alphanumeric keyboards. As randomic programming encounters.

(10)(10) D-scripting as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. D-scripting as a transdialogic, uninterrupted process. D-scripting as excrescence of alphanumeric keyboards. As randomic programming encounters. Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) D-scriptng as interpellation of texts, discourses, speeches, subjects, identities, codes and genres. D-scriptng as a transdialogic, uninterrupted process. D-scriptng as excrescence of alphanumeric keyboards. As randomic programming encounters. Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of in consistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of in consistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of in consistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs....

(10)(10) As effects of in consistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of in consistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of in consistent machines.... signifying sequ ences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... thoughts that result from the incidental encounters of letters... unknown language signs.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) As effects of inconsistent machines.... signifying sequences of signs corrupted by the machinic desire for repetition... Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10)

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... (10)(10)

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language.... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10) Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language....

(10)(10) Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process Thoughts that result from the incidental encounters of letters... unknown language signs.... letters and sequences that question us... that interact with our perceptive systems even though, they insist, still, they persist, those signs that do not establish themselves as language....

(10)(10).... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

(10)(10).... Redefining writing as an intrapersonal linear process into a rhizomatic, machinic, hybrid, randomic, incidental process

Brazil, 2004 a project by Artur Matuck graphic design: Manlio M. Speranzini mediamaticmediamatic manifest for a Webvirtual [Proto-arte]