syn·site

sin.sīt
noun, verb

1: HYBRID SITE[S] An active assemblage sourced from a dislocated, fractured network of sites.

2: SYNTACTICAL TOOL A verb-noun concatenation——process embedded in, affecting, and affected by site——with an assertive threshold calling attention to itself between the two. To understand this hybridity of site is to see the hyphenated construct itself as a tool—to see in its syllabic nodes and articulated connection a self-aware mirage.

< ORIGIN > The SITE/NON-SITE theory of Robert Smithson in which, by and large, the NON-SITE is presented as a factor of a singularly located SITE... < TODAY > calls for a SYN-SITE.

1: HYBRID SITE[S] An active assemblage sourced from a dislocated, fractured network of sites.

2: SYNTACTICAL TOOL A verb-noun concatenation——process embedded in, affecting, and affected by site——with an assertive threshold calling attention to itself between the two. To understand this hybridity of site is to see the hyphenated construct itself as a tool—to see in its syllabic nodes and articulated connection a self-aware mirage.

< ORIGIN > The SITE/NON-SITE theory of Robert Smithson in which, by and large, the NON-SITE is presented as a factor of a singularly located SITE... < TODAY > calls for a SYN-SITE.

SYN (along with, at the same time | from Greek SYN, with | ~SYNTHETIC) + SITE (N: point of event, occupied space, internet address; V: to place in position | from Latin SITUS, location, idleness, forgetfulness | ~WEBSITE ¬cite ¬sight), cf. SITE/NON-SITE (from Robert Smithson, A PROVISIONAL THEORY OF NONSITES, 1968)

A line is a dot that went for a walk.

A drawing is a line that went for a walk.

A line is a dot that went for a walk.

A drawing is a line that went for a walk.

A line is a dot that went for a walk.

A drawing is a line that went for a walk.

The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.

The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.

The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.

we are no longer in the age of gaining information, we are in the age of connecting knowledge.

What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...

What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...

What is Imagination?
1. The combining faculty [which] seizes points in common, between subjects having no apparent connection...
2. Imagination is the Discovering Faculty, pre-eminently. It is that which penetrates into the unseen worlds around us...

we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it

we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it

we have no original because there is no original. A copy of Heaney’s last words exists on his own phone. It exists on his wife’s phone. It likely exists on a server somewhere, an archive maintained by the cell provider, a stash no one will ever read. But the wires that carried it; the air through which it shimmered; the switches that transfigured it between kinds of invisible light: They have already forgotten it

The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.

The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.

The line is the interface between language and the world. The line is language held taut, and someone has to be doing the work of holding the line taut. [...] Language is always situated in social and physical reality.

This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]

We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]

This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.

This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]

We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]

This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.

This connection is a transclusion that is the same content in two places. It is not a link. It is not represented by link structures. It is differently found. [...]

We see as we step through the connections on this page that the other documents swarf into position — it's swoop plus morph — and the connections become exactly readable. So one connection at a time we can follow what the connections actually mean, even though we are in a huge conglomerate of many different connections. [...]

This same structure can be used to represent any mix of audio, video, and text so that you can use this type of link — or flink as we call it, floating link — for in and out points on audio and video. You can edit in-place and create arbitrarily rich, transclusive structures [...] See, this to me is a real representation in depth of literature as it should always have been and anything less is a compromise with tradition and shallowness.

apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.

apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.

apophenia...drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity. This apophenia, a seeing of patterns where there is actually only noise, is neither a failure of imagination nor a virtue, but rather an unavoidable qualification of our predicament and its (only partially decipherable) aftermath.

..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."

..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."

..."cut-up" (we would now say "remix") culture is discussed in which digital technologies provide a platform for individuals to respond to authoritarian top-down messaging/massaging. Remixes become "a critical weapon against spectacular society." Bukatman discusses William S. Burroughs, Jean Baudrillard and Don Delillo (specifically the novel White Noise) here; and he goes on to argue, "The scrambling of language defamiliarizes it, revealing its pervasiveness and operant illusions."

...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.

...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.

...divination ... constitutes a space in which cognitive structures are transformed and new relations are generated in and between the fields of the human body (senses, emotions), the social body and the cosmos.

The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.

The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.

The loam—a residue sometimes hard, mostly soft—when expressed via the rampant acceleration of data proliferation, circulation and exchange, is a rather precious, albeit strange, entity. Vibrant and disruptive, flowing and yet at times steadfast, both segment and infinite plane, it names a kind of dynamic discourse, closer to that of a living, breathing, shape-shifting mesh. Its connections are self-organising complexities, which require the practical activities of distributed intelligences.

Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.

Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.

Take a walk down a city street ... You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows – a montage of fragments ... Consciousness is a cut-up; life is a cut-up.