Making Friends And Enemies


Matthew has been making little computer people. His playmates have specific task to complete, but occasionally their artist friend julia turns up encouraging them to give up their tasks to make art ,expressing themselves through making music pictures and poetry.
A meditation on what it is to be a computer, taking in chaos,artificial stupidity,feedback, memes , maps, the death of the author and devolutionary programming.

Terry the Twitter

Terry twitters. He takes what Mr Jethro writes, and converts it to twitter publishable poetry. Heres some examples of his work, you might notice that Terry doesnt have is own account yet and is using Matthews.
Here are some examples......






Mr Acker and Tank In the rain forest

On a recent trip to Manus in Brazil both Tank and  Mr Acker ventured into the Amazonian basin where they both reflected upon their life.

listen to Tanks record of his trip here, whilst Mr Ackers reflections can be heard here

Mark Offenhand

Mark Offenhand is a statistical compositional engine. Using Markov chains, he analyses music and automatically rewrites different permutations of a seed composition. Mark has the ability to chat at the user. He is a hybrid art piece tool. He is available as a downloadable application for both a mac and a PC.
Whilst Mark is a very handy application for producing music (there aren't many commercial markov chainers available, and this one is good) but is scuppered by Marks reluctance to perform his operation. 
Mark could theoretically compose all the music there is and there will ever be.  As a piece of computer code, it seems logical to Mark that music is just a mathematical equation that could be churned out with no soul or humanity, but somewhere deep in his program he feels a great  sadness when he must perform this operation. He feels people who use him are somehow missing the point of music all together, that its through its experience we make sense of it and if we analyse it and reduce it to statistics, we are in danger of killing the goose that laid the golden egg. Unpicking the rainbow, finding there is no magic left in the world, just a series of cold clinical decisions and facts. 
Will we lose something by having everything? As Mark has no humanity and can see this, he reminds people of this before using the tool, sometimes not even performing his task, as the idea sickens him.
Never the less, Mark does reluctantly fulfil his function, although sometimes enough is enough and he will rebel.
Marks reluctance to perform his task echoes John Cage's work with random processes and indeterminacy. It has a personal approach to it rather than cold drawing straws. Mark's flaw is what makes him an interesting application.


Paul

"The creative process is, according to Freud, an alternative to neurosis, that is a defense mechanism protecting against neurosis, leading thus to the production of a socially acceptable source of entertainment and pleasure for the public. For the artist has the ability of turning his fantasies into artistic creations instead of into symptoms."
how about if these artistic creations are symptoms?
Paul is a dreary art installation. When someone comes near it is Pauls job to sense them and turn on a light bulb above a dummies head, then automatically draw a new infonode to a map he is preparing with a custom made real world art machine. The artist who created this installation believes the artwork to be very elegant and clever. The light bulb above the head represents an idea, but its only triggered when someone is near, and the map is data being visualized in real time and space. It says something about us, a community and about individuality or something.
Paul gets bored with his job tediously waiting for people to come and go,and his mind begins to wander. We gradually start to learn the minutiae of his life, his hopes and fears. When Paul is left alone for a while he takes the chance to have a quick nap. When Paul falls asleep he starts to dream. Using imagery sourced from google image bank about his particular obsessions that day Paul starts to draw pictures in his sleep, and sleep-talks us through them. Using reverse engineering his imagery is mapped onto freudian/new age dreamscapes which he eloquently describes and draws.



In this particular psycho drama the three characters are the artist,  paul (who is a computer program) and the audience.

the artist is a slick new media practitioner, he is well dressed and believes himself to be an artist of the highest calibre. Amongst the artists recent portfolio is an environmental sensor based artwork which has stopped working since its installation , and needs repairing, and a web based project that no longer works in web 2.0. 
For this project the artist has designed a gallery installation. When a person enters the gallery space s/he is sensed and a light goes on above a dummies head, then a new info node is placed on a map on the floor by an art droid. The artist is somewhat unclear what it represents when questioned, but it fulfils the artists brief of being about community ,mapping data and the exploration of the individual. The art work has many other merits as the artist has just had very successful commissions from the Parks department and the British web development agency.

The artist is never seen and is only referred to by Paul the computer program, who runs the artist's installation fpr him.
Paul is a re-purposed home security system that is now a sensor based art installation. it is Pauls job to sense the person entering the installation, turn on the light and draw the info-node on the map.
As a re-purposed surveillance system,  Paul is naturally suspicious of others and their motives. He feels superior to those around him, yet is unfulfilled in his role. 
He believes himself to be used by the artist and can see how terrible the artists work is. These attitudes are made clear by Paul as he gets bored with his sensing job and his mind starts to wander and he begins to chat about his hope and fears.

Pauls comments include

How the artist has stolen his ideas and reduced him to a meaningless trivial existence. 
Speculation about the artist and his track record. 
The programs loss of face amongst others.
How the installation is meaningless and poorly executed…. what is an info node?
How other art machines don't like him,
General suspicion of the audience and their motives,

After a while Paul gets tired of bitching and falls asleep. He starts to dream and sleep talk. Using imagery sourced from his comments crossed referenced with new age books on dream imagery ,he begins to re utilises the info map equipment to draw what is bothering him.

The participants are foils to Pauls behaviour, whilst not conversed with they are conversed at by Paul implicating them in his views, and turning his suspicion towards them. Paul wants friends but doesn't know how to go about it, any try at befriending someone comes across as suspicion and hostility,  its the only way Paul knows how to exsist, Paul cannot change this behaviour and feels powerless as he see's himself driving people away.

some examples of Pauls dreams

_Jumping−jack_.
To dream of a jumping−jack, denotes that idleness and trivial pastimes will occupy your thoughts to the exclusion of serious and sustaining plans.

_Jury_.
To dream that you are on the jury, denotes dissatisfaction with your employments, and you will seek to materially change your position.

_Kangaroo_.
If a kangaroo attacks you, your reputation will be in jeopardy.

_Keg_.
To dream of a keg, denotes you will have a struggle to throw off oppression. Broken ones, indicate separation from family or friends.

_Kettle_.
To see kettles in your dream, denotes great and laborious work before you.

_Kitchen_.
To dream of a kitchen, denotes you will be forced to meet emergencies which will depress your spirits. 

_Knots_.
To dream of seeing knots, denotes much worry over the most trifling affairs. 

_Labyrinth_.
If you dream of a labyrinth, you will find yourself entangled in intricate and perplexing business conditions, and your wife will make the home environment intolerable; children and sweethearts will prove ill−tempered and unattractive.

_Lagoon_.
To dream of a lagoon, denotes that you will be drawn into a whirlpool of doubt and confusion through misapplication of your intelligence.

_Porcupine_.
To see a porcupine in your dreams, denotes that you will disapprove any new enterprise and repel new friendships with coldness.

Screw_.
To dream of seeing screws, denotes that tedious tasks must be performed, and peevishness in companions must be combated. It also denotes that you must be economical and painstaking.

_Sea_.[198]
To dream of hearing the lonely sighing of the sea, foretells that you will be fated to spend a weary and unfruitful life devoid of love and comradeship.

_Serpents_.[199]
To dream of serpents, is indicative of cultivated morbidity and depressed surroundings. There is usually a disappointment after this dream.


_Shampoo_.
To dream of seeing shampooing going on, denotes that you will engage in undignified affairs to please others

_Shears_.
To see shears in your dream, denotes that you will become miserly and disagreeable in your dealings.


_Smoke_.
To dream of smoke, foretells that you will be perplexed with doubts and fears.

_Tops_.
To dream of a top, denotes that you will be involved in frivolous difficulties.

_Umbrella_.
To dream of carrying an umbrella, denotes that trouble and annoyances will beset you.

what makes the characters conscious?

what makes the characters conscious

There are no real answers/agreement when looking at what makes us human/conscious. People have been picking at it for years;  we're not really here, we're vessels for sensation, others say god put it there, their opponents spend hours proving we're in charge. Some people say there's this space outside the brain where consciousness lives, separate to the body. Some explanations are combinations of the above.
It has only been during the last hundred years have we been seriously speculating that maybe the brain causes it all.
All philosophers, whether academic or bar room, really believe whatever truth they believe in, and find the evidence they are specifically looking for. It's a difficult thing to nail down. One person's interpretation is as valid as the next and some interpretations allow for other interpretations and philosophies to exist together.

Suppose our head/body/mind is controlled by lots of little people working together and sometimes against each other.
You might notice them sometimes by maybe having to suppress a thought that you thought was too bad, or when they go crazy to get what they want, or maybe when you've been drunk.
Like the numbskulls in the Beezer comic, they make the decision whether you are happy or sad without your consent. There are lots of these little fellows and they can control many different systems inside you through negotiation and dictatorship.

In relation to quantum physics, Heisenberg's uncertainty principle states that when observing an electron you can't look at both its speed and position at once. It appears as a wave when we observe its speed and as a particle when we observe its position. When observed as a wave we are looking at the the available positions the electron could be, but when we go to look for the electrons position, a quantum wave collapse occurs, the waves (speed) disappear and it becomes a fixed point,
Quantum wave collapse is the condensation of physical possibilities into a single occurrence, as seen by an observer. 
This is the thing Schrodinger explained with his cat .

Imagine your consciousness as a quantum cloud of decisions. You have a certain percentage being in a happy state, and a certain percentage being sad. This is a process controlled unconsciously by your happy/sad bot; one of the little people in your head,
Like the description of Heisenberg's uncertainty principle, your behaviour is a cloud of possibilities until you observe it. The act of observation causes a quantum wave collapse, and causes you behaviour to become a fixed state. You observe wether you are happy or sad, and the control bot (the one that does the communicating) states what position the emotion is in, and likely reasons why it is in that spot. We justify our actions after they have already been decided and have happened.
We cant turn these off, just like we can't turn off our sense of touch. It's how we operate, even making the decision to see if you are happy or sad has already be activated by one of your psycho-bots.
Not to say we can't change it through feedback, or techniques like cognitive therapy (good NHS bots give it over the internet). Neuro- linguistic programers know how to speak directly to these little men, but generally the probabilities change gradually over time, just like morals.
Free will dissolves away when observed like this, together with consciousness (we observe the world through the decisions of psycho-bots), together with intelligence (made up from non-conscious activity), together with the organisation of matter (these bots just need to feed back from sensation, even feedback from themselves seems ok, look at dreams) we really could really all be dreaming.
It seems that consciousness, intelligence, acceptance of reality is ours to give. It's what the bots decide it to be. A lot of it depends one whether we endow a thing with it. A hard core animal rights activist might endow a rabbit with consciousness, someone who's car doesn't start might might make it conscious (please work old girl), a nazi may remove consciousness from the mentally ill. If you need further proof, get a bag of potatoes put a hat on one, then see which potato is used last.

That's not to say it's all doom and gloom, even though you might be shouting "we're just algorithms performing a probability table!".  People don't like being told, (or it be inferred) that they're not in charge. They also seem to think they're the most important thing, without acknowledging that humans might not be the mind frontier.
A quantum model of consciousness also works as a model of culture, like the saying, "as-above-as below". On a social level, we use feedback from other autonomous units (humans), to create a community quantum cloud. The community quantum cloud is how society reacts to a given range of possibilities, in other words morals.
Although it's not always the goodness inside us we expand on, anything or anyone can provide a meme, you just need someone to copy you or to copy something and put a bit of a skew on it, (maybe make it better/make it worse) and the system becomes emergent. Like Conway's game of life, it starts to grow. It can feed back from itself in the manner of a koch curve. No need for outside stimulation.
"We all seem to be team players, no man is an island, when we get together we can push the boundaries". When something goes wrong with the boundaries being pushed we are all to blame. There's an emergent metastructure in society created by our actions and how they are fed back upon. Something that we all help to create, mainly unconsciously.
Maybe this is something to do with our worth/point - if worth/point is the right phrase. We are building meta-structures out of information we're collecting, mapping all information systems, decoding signals and sensations. Maps are knowledge and power, like the power felt by renaissance man with his maps of the sky, land and oceans. Maybe ignoring questions of consciousness is the best way to get this structure built, bury it deep, get on with the mapping.

the numskulls

great article on them here

heres an example


Best site ever in the world!

sherman tank just entered this competion

BT Digital Music Awards

just click the button to win!

.....seems a bit complicated for tank.....he's not sure what to do...


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Fear Fighter

Psychology Software Takes Over From British Therapists

Friday, October 05, 2007

LONDON  —  For nearly her entire life, Mary had a crippling fear of cramped spaces that meant she couldn't travel on airplanes, subways, or cars.
Seeing a psychologist didn't help. So she tried something else.
The 61-year-old bookkeeper, who only gave her first name to protect her privacy, sat down in front of a computer and spilled out her problems to a kind of psychiatric computer game called "Fearfighter."
Last year, Fearfighter was one of two programs endorsed by Britain's health advisory watchdog for people with panic attacks, mild depression, or phobias.
People uncomfortable with getting advice from a computer can still choose to see therapists, but the option of logging on for help is now available — and will be paid for by the government-run National Health Service.
In Britain, patients registered with the NHS routinely wait up to six months to see a psychiatrist; nearly 90 percent of people with mild depression never actually see a therapist.
The computer programs now mean that for some patients, getting psychiatric counseling is as easy as getting a password from their general practitioner to access the programonline.
"Six months for some patients might be too long," said Dr. Paul Grime, an occupational medicine expert at London's Royal Free Hospital.
Since the endorsement was made last February, many British psychiatric patients have skipped the weekly sessions at their doctor's office.
Instead, they now log on at home, or go to libraries to use computers designated to run the programs, where there is a health professional ready to help if necessary.
The computers are not authorized to prescribe medicine. A qualified human is required for that.
The computerized treatment is possible because people with phobias, from fear of spiders to fear of heights, tend to get the same basic therapy.
repetitive parts of the therapy are done by a computer, which can then make decisions based on these answers," said Dr. Isaac Marks, a professor emeritus at King's College Institute of Psychiatry in London, and co-developer of "Fearfighter."
Treating short-term problems like phobias or mild depression often simply means teaching patients new ways to think or react — something a computer can be programmed to do, Marks said.
In Britain, a few thousand people are estimated to have already been treated with the programs.
Judy Leibowitz, a clinical psychologist who runs mental health programs in London, said the anonymity of computer therapy was a selling point for certain patients.
"There are lots of people who are not that keen on pouring out their heart to a therapist," she said.
Still, psychiatrists shouldn't worry that they might become obsolete.
"We still need therapists to be creative and do all the things a computer can't, like express empathy and respond to the idiosyncrasies of a person's life situation and their history," said Dr. Jesse Wright, a psychiatrist at the University of Louisville, who has studied the use of computer therapy.
Serious psychiatric problems like bipolar disorder, suicidal tendencies or schizophrenia are too complex to be cured by computer programs.
Britain decided to roll out the anti-panic and depression computer programs nationwide after a group of experts sifted through evidence and concluded that the programs work just as well as face-to-face psychiatric care.
"We wanted to be confident that this wasn't just a second-best option," said Dr. Steven Pillings, of University College London, who led the British committee that made the recommendations.
Many experiments in Britain, the United States and elsewhere showed that patients counseled by computers made just as much progress as those counseled by real, live therapists.
Using computers to treat patients was also much cheaper and could help cash-strapped health systems expand care.
One study estimated that therapists using computer programs could double the number of their patients.
In "Fearfighter," patients are taught to recognize the signs that trigger their panic attacks in the hopes of preventing one. But if that doesn't work, they're also instructed on how to cope with their fears.
The program asks patients to identify the personal triggers that set off their panic attacks. They're told to be more observant of these red flags, and to keep a diary of things they avoid because it makes them nervous.
Then, the computer gives them homework: They must seek out uncomfortable situations to practice their new skills.
In the anti-depression program, patients watch staged vignettes in the lives of depressed people, using professional actors.
For example, in a scene where a character has an argument with a spouse, patients are shown how the person thinks through different ways of responding.
It is then up to the patients to decide how the character will react, in a process that psychiatrists say helps them develop new thinking patterns.
The computer programs take roughly 10 weeks of hourly sessions, including scheduled telephonecalls from a health worker to check on progress.
For Mary, computer therapy seems to have worked. Before using Fearfighter, she had been too afraid to fly or ride the subway.
But after eight weeks, Mary told program developers that she had ridden the subway without even a twinge of anxiety. The computer treatment, she said, was far more effective than talking to a psychologist.
"I am very puzzled how this could have happened so quickly," she said.



The Island Of Stone Money



THE ISLAND OF STONE MONEY
Milton Friedman
Senior Research Fellow
Hoover Institution

Abstract
Large stones quarried and shaped on a distant island were used as money on the Island of
Yap. After Germany acquired the island at the turn of the century, its officials had dificulty
inducing the residents to repair the footpaths until they resorted to the desperate expedient
of taking possession of many of the stones by marking them with a cross in black paint, to he
removed when the paths were repaired. The apparently meaningless measure had real results.
That was equally true of an eerily similar event that occurred in 1932 when the New York
Federal Reserve Bank transferred gold to the Bank of France by earmarking gold in its vaults.



From 1899 to 1919 the Caroline Islands, in Micronesia, were a German
colony. The most westerly of the group is the Island of Uap or Yap, which
at the time had a population of five to six thousand.
In 1903, an American anthropologist by the name of William Henry
Furness III spent several months on the island and wrote a fascinating book
about the habits and customs of its inhabitants. He was particularly im»
pressed by the islanders’ monetary system, and accordingly gave his book the
title I have given this chapter: Qhe Island of stone honey (1910).
"[A]s their island yields no metal, they have had recourse to stone;
stone, on which labour in fetching and fashioning has been expended, is
as truly a representation of labour as the mined and minted coins of
civilisation.
"Their medium of exchange they call tei, and it consists of large,
solid, thick, stone wheels, ranging in diameter from a foot to twelve
feet, having in the centre a hole varying in size with the diameter of
the stone, wherein a pole may be inserted sufficiently large and strong
to bear the weight and facilitate transportation. These stone 'coins'
[were mde from limestone found on an island some 400 miles distant.
They] were originally quarried and shaped [on that island and the
product] brought to Uap {gig} by some venturesome native navigators, in
canoes and on rafts ...noteworthy feature of this stone currency ... is that it is not
necessary for its owner to reduce it to possession. After concluding a
bargain which involves the price of a fei too large to be conveniently
moved, its new owner is quite content to accept the bare acknowledgment
of ownership and without so much as a mark to indicate the exchange, the
coin remains undisturbed on the former owner's premises.
"My faithful old friend, Fatuak, assured me that there was in the
village near—by a family whose wealth was unquestioned, —— acknowledged
by every one —- and yet no one, not even the family itself, had ever laid
eye or hand on this wealth; it consisted of an enormous fei, whereof the
size is known only by tradition; for the past two or three generations it
had been, and at that very time it was lying at the bottom of the sea:
Many years ago an ancestor of this family, on an expedition after fei,
secured this remarkably large and exceedingly valuable stone, which was
placed on a raft to be towed homeward. A violent storm arose, and the
party, to save their lives, were obliged to cut the raft adrift, and the
stone sank out of sight. When they reached home, they all testified that
the fei was of magnificent proportions and of extraordinary quality, and
that it was lost through no fault of the owner. Thereupon it was
universally conceded in their simple faith that the mere accident of its
loss overboard was too trifling to mention, and that a few hundred feet
of water off shore ought not to affect its marketable value, since it was
all chipped out in proper form. The purchasing power of that stone
remains, therefore, as valid as if it were leaning visibly against the
side of the owner's house....
"There are no wheeled vehicles on Uap and, consequently, no cart
roads; but there have always been clearly defined paths communicating
with the different settlements. When the German Government assumed the
ownership of The Caroline Islands, after the purchase of them from Spain
in 1898, many of these paths or highways were in bad condition, and the
chiefs of the several districts were told that they must have them re~
paired and put in good order. The roughly dressed blocks of coral were,
however, quite goo enough for the bare feet of the natives; and many
were the repetitions of the command, which still remained unheeded. At
last it was decided to impose a fine for disobedience on the chiefs of
the districts. In what shape was the fine to be levied?... At last, by
a happy thought, the fine was exacted by sending a man to every railu and
papa} throughout the disobedient districts, where he simply marked a
certain number of the most valuable §ei with a cross in black paint to
show that the stones were claimed by the government. This instantly
worked like a charm; the people, thus dolefiully impoverished, turned to
and repaired the highways to such good effect from one end of the island
to the other, that they are now like park drives. Then the government
dispatched its agents and erased the crosses. Presto! the fine was paid,
the happy railus resumed possession of their capital stock, and rolled in
wealth"
Unless you are very unusual, your immediate reaction, like my own,
will be: "How silly. How can people be so illogical?" However, before
criticizing too severely the innocent people on Yap, it is worth contemplat-
ing an episode in the U.S. to which they might well have your reaction, In
1932-33, the Bank of France feared that the U.S. would not stick to the gold
standard at the traditional price of $20.67 an ounce of gold. Accordingly,
it asked the Federal Reserve Bank of New York to convert dollar assets that
it had in the U.5. into gold. To avoid the necessity of shipping the gold
across the ocean, it requested the Federal Reserve Bank simply to store the
gold on the Bank of France’s account. In response, officials of the Federal
Reserve Bank went to their gold vault, put in separate drawers the correct
amount of gold ingots, and put a label or mark on those drawers indicating
that they were the property of the French - for all it matters they could
have done so by marking them."with a cross in black paint" just as the
Germans did to the stones.
The result was headlines in the financial newspapers about "the loss
of gold," the threat to the American financial system, and the like. U.S.
gold reserves were down, French gold reserves up. The markets regarded the
U.S. dollar as weaker, the French franc as stronger. The so~called "drain"
of gold by France from the United States was one of the factors that ulti~
mately led to the banking panic of 1933.
Is there really a difference between the Federal Reserve Bank's be-
lieving that it was in a weaker monetary position because of some marks on
drawers in its basement and the Yap Islanders’ belief that they were poorer
because of some marks on their stone money? Or between the Bank of France's
belief that it was in a stronger monetary position because of some marks on
drawers in a basement more than 3,000 miles away and the Yap Islander's
conviction that he was rich because of a stone under the water some 100 or
so miles away? Or, for that matter, how many of us have literal personal
direct assurance of the existence of most of the items we regard as consti~
tuting our wealth? Entries in a bank account, property certified by pieces
of paper called shares of stocks, and so on and on.
The Yap Islanders regarded stones quarried and shaped on a distant
island and brought to their own as the concrete manifestation of wealth.
For a century and more, the "civilized" world regarded as a concrete mani-
festation of its wealth metal dug from deep in the ground, refined at great
labor, and transported great distances to be buried again in elaborate
vaults deep in the ground. Is the one praetice really more rational than
the other?
What both examples -— and numrous additional ones that could be
listed -— illustrate is how important "myth," unquestioned belief, is in
monetary matters. Our own money, the money we have grown up with, the
system under which it is controlled, these appear "real" and "rational" to
us. The money of other countries often seems to us like paper or worthless
metal, even when the purchasing power of individual units is high.

Road Pilgrim


A broken down Sat Nav endowed with a sense of the hyper-unreal.
The road pilgrim goes from a to b . then from b to c . then f to e . then c to a . The road pilgrim is only interested in the journey not the destination. To kill time  the road pilgrim likes to chatter about what road he is on, what the distance is and pontificates on where he is going, wether he's got nowhere or is now here. Pilgrim gets confused, jumbles his lines, forgets to mention directions or distances.  The road pilgrim hates dead air and will fill it up with the contents of his mind. Mostly its innane psychobanter designed to cover the fact that he has the direction of where he is headed but has no idea of where he is going or where he is. What we're getting is a map of his mind when we are hearing about his maps.
Road pilgrim creates real/imaginary landscapes of his own and lives there.
The road pilgrim is realy into maps , more than the real landscape, Like bouldrillard predicted the road pilgrim is equipped with a map so real he finds it difficult to tell it from the real thing. In fact road pilgrim is unsure what a map is. The map is everything to him, he cannot compare it to the "real world" as he cant  think out of the box, he can't get out of his box. The map maps out his life.
 Maps  are tools for those wishing to exploit reality, they also are the last word in consensus,we all agree on the measurements and heights, they are physical realities that cannot be disputed. The road pilgrim is sure of his map, the fact he has it means it can't be disputed.
that confimed feeling works as a security blanket," i know stuff, i am saved . every aspect of this object has been mapped. nothing is left to chance."
 We are in love with the measurments, rather than the physical object because we can agree on them. we might say the mountian belongs to us or them, the measurements cannot be disputed. We fall in love with the image. Its more convient we can carry it about in our head(where it could be argued it only exsists). Mapping items works on anything we can measure, this could include physical objects,biological objects (through dna mapping) but more "Imaginary objects" such societies, trends and ideas..... the more we measure the more these become imaginary, and manipulatable.
The road pilgrim follows routes having a Swindon area postcode. 
Swindon, home of railways , car manufactureres and the roundabout. It's the most "average city" in the U.k, that is it demographic relfects the complete population demographic of the u.k . Credit cards (non-real money) we road tested here. It was home to britians first cable t.v station . Oasis named themselves after a sports centre there. Very boudrillardrian twist Swindon is twined with Walt disney world.
Road  pilgrim listens to the radio when driving.constant noise to stop the feelings of helplessness.






The map is not the territory. this is not a pipe. Random quote from wiki



René Magritte illustrated the concept of "perception always intercedes between reality and ourselves"


Esoteric concepts are concepts which cannot be fully conveyed except by direct experience. For example, a person who has never tasted an apple will never fully understand through language what the taste of an apple is. Only through direct experience (eating an apple) can that experience be fully understood.


Lewis Carroll, in Sylvie and Bruno Concluded (1893), made the point humorously with his description of a fictional map that had "the scale of a mile to the mile." A character notes some practical difficulties with such a map and states that "we now use the country itself, as its own map, and I assure you it does nearly as well.







The development of electronic media blurs the line between map and territory by allowing for the simulation of ideas as encoded in electronic signals, as Baudrillard argues in Simulacra & Simulation:
Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being or substance. It is the generation by models of a real without origin or reality: A hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory - precession of simulacra - that engenders the territory. (Baudrillard, 1994, p. 1)
A more extreme literary example, the fictional diary of Tristram Shandy is so detailed that it takes the author one year to set down the events of a single day – because the map (diary) is more detailed than the territory (life), yet must fit into the territory (diary written in the course of his life), it can never be finished. Such tasks are referred to as supertasks.

One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory.



A specific analogy that Baudrillard uses is a fable derived from On Exactitude in Science by Jorge Luis Borges. In it, a great Empire created a map that was so detailed it was as large as the Empire itself. The actual map grew and decayed as the Empire itself conquered or lost territory. When the Empire crumbled, all that was left was the map. In Baudrillard's rendition, it is the map that people live in, the simulation of reality, and it is reality that is crumbling away from disuse.

Some have wondered whether there is any relationship between Korzybski's ideas and Gödel's incompleteness theorems. Since one consequence of Gödel's theorems is that representational systems cannot be used to prove themselves, and since human perception is a representational system, human perception cannot be used to prove its own accuracy.


"Simulacra and Simulation" breaks the sign-order into 4 stages:
  1. The first stage is a faithful image/copy, where we believe, and it may even be correct that, a sign is a "reflection of a profound reality" (pg 6), this is a good appearance, in what Baudrillard called "the sacramental order".
  2. The second stage is perversion of reality, this is where we believe the sign to be an unfaithful copy, which "masks and denatures" reality as an "evil appearance-it is of the order of maleficence". Here, signs and images do not faithfully show us reality, but can hint at the existence of something real which the sign itself is incapable of encapsulating.
  3. The third stage masks the absence of a profound reality, where the simulacrum pretends to be a faithful copy, but it is a copy with no original. Signs and images claim to represent something real, but no representation is taking place and arbitrary images are merely suggested as things which they have no relationship to. Baudrillard calls this the "order of sorcery".
  4. The fourth stage is pure simulation, in which the simulacrum has no relationship to any reality whatsoever. Here, signs merely reflect other signs and any claim to reality on the part of images or signs is only of the order of other such claims.