Notes for outsiders.

Chain Reaction is a collaborative project developed for my Major Studio: Computation @ D+T Parsons School of Design.

Cheers,

Leonardo.

Chain Reaction complete and fully functional.

Finally, here it is!

Chain Reaction Static

The whole thing but static!

Chain Reaction and bot stops!

First attempt of chain reaction, but as usual, a friendly bot turns out to be an evil dodger. We all trusted you evil bot!

Working towards the chain reaction.

Here's our servo working. Finally we managed to go back and forth.

Duchamp on Bachelard's book: Le Nouveau Esprit Scientifique

"...what does he call movement, your fellow? If he defines it in opposition to rest, that doesn't work, because nothing is at rest in the universe. So? His movement is nothing but a myth..."

Bibliography.

Here's a bibliography of what can possibly help me to tackle my project(s):

Previous comments on bibliography selection:

Even though I think picking up a bibliography of something I don't really know is dangerous for the project itself, maybe picking one will give me a basic ground...I have to say I prefer to find things at their time, like when you are riding a mountain bike and find an unexpected bump in a tight left turn going downhill...oh! the adrenaline rush!

I am going to include in my bibliography many books/papers/websites I haven't read yet, but they're in the list because someone I trust recommended them or because I find them interesting and will review them in the near/not-that-near/slightly-far/far future, whatever comes first.

Read:

Chernikov, Fantasy and Construction. Architectural Design 54 Sept/Oct 1984, ed. Catherine Cooke
"...We must prove that the construction which we are proposing is correct and fits the case concerned..."

Waterson, Bill. Scientific progress goes "boink". A Calvin and Hobbes collection. New York: Scholastic, 1992
"...Oh. What a desolate place to be trapped! Spiff tries desperately to repair his disabled spacecraft..."

Hjelm, Sara Ilstedt. Visualizing the Vague: Invisible Computers in Contemporary Design. Design Issues; Spring2005, Vol. 21 Issue 2, p71-78, 8p
Abstract: This article outlines the background behind the concept of an invisible computer, as well as present some historical references in connection with the introduction of new technology. Design is allegedly a powerful tool in getting people to accept new ideas and things. In the past, this tool has been used to introduce new products and technologies as safe, familiar, and even invisible. But design also can be used in a critical or subversive way that challenges the prevailing norm. Because product design often operates within tight economic parameters, there have been few opportunities for designers to use their skills for critical projects. During the last decade, as of spring 2005, the concept that computers should be invisible has influenced much information technology development and research. But technology as such, and computers in particular, are too problematic to be hidden away. Instead of hiding computer technology, people should allegedly use the power of design to visualize and express the complex issues it raises. For one, when radio was new and people were reluctant to recognize the benefits of this new technology, its developers allegedly did a lot of creative thinking to find ways to convince people to buy it.

Plagens, Peter. The ghost in the machine. Newsweek; 00289604, 1/4/93, Vol. 121, Issue 1
"The phrase "kinetic sculpture" generally makes people's eyes glaze over. Good sculpture that's also mobile is usually a case of gilding the lily. Bad sculpture set in motion is, well, bad sculpture set in motion. Even the guys who were great at it seem a little tepid now. The slow, sweet, windblown dances of the work of Alexander Calder or George Rickey are met with, at best, affectionate little sighs. The complicated, motorized raucousness of Jean Tinguely or Dennis Oppenheim often gets a who-cares shrug. Maybe the natural state of sculpture is stillness. Or maybe what most kinetic sculpture needs is a little more expressiveness.
Mary Ziegler supplies it..."The Way" is a kind of a concrete-and-metal landscape..."Myomortem" (loosely translatable as "muscular death") is a sparer and crueler piece..."

Maeda, John. What is a Media Lab Master's Degree Design Thesis? In John Maeda MIT site. Cited on Sept 25 2005.
Available here: http://plw.media.mit.edu/people/maeda/posts/designmsthesis.pdf

Unread:

...or undead? (I don't know what I mean here)

Papadakis, Andreas C. ed. Deconstruction in Architecture. London: Academy Editions;
New York: St. Martin's Press, 1988

Lehrman, Paul D. Todd, Ryan. Bridging the Gap Between Art and Science Education Through Teaching Electronic Musical Instrument Design. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Villar, Nicolas. Lindsay, Adam T. Gellersen Hans. Pin & Play & Perform: A rearrangeable interface for musical composition and performance. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Birnbaum D., Fiebrink R. Malloch J. Wanderley. M. Towards a Dimension Space for Musical Devices. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Kobayashi, Shigeru. Akamatsu, Masayuki. Spinner: A Simple Approach to Reconfigurable User Interfaces. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Miranda, Eduardo. Brouse, Andrew. Toward Direct Brain-Computer Musical Interfaces. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Poepel, Cornelius. On Interface Expressivity: A Player-Based Study. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Hindman, David. Kiser, Spencer., Sonictroller. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Verplank, William. Haptic Music Exercises. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Melo, Mauricio., Fan, Doria., Swayway - Midi Chimes., In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Bowen, Adam. Soundstone: A 3-D Wireless Music Controller. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Flety, Emmanuel. The WiSe Box : a Multi-performer Wireless Sensor Interface using WiFi and OSC. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Socolofsky, Eric. Contemplace. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Guisan, Alain. Interactive Sound Installation: INTRIUM. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Marinelli, Maia. Lamenzo, Jared. Liuvo, Borissov. Mocean. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Matsumura, Seiichiro. Arakawa, Chuichi. Hop Step Junk: Sonic Visualization using Footsteps. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Deutscher, Meghan. Fels, Sidney. Hoskinson, Reynald. Takayashi, Sachiyo. In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), 2005.

Traube, Caroline. DePalle, Philippe. Wanderley, Marcelo. Indirect Acquisitionof Instrumental GestureBasedon Signal, Physical andPerceptual Information., In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME03), 2003.

Andersen, TueHaste. Mixxx: TowardsNovelDJInterfaces. In Proceedings of the 2003 International Conference on New Interfaces for Musical Expression (NIME03), 2003.

More NIME's papers some other day.

Woodhouse, Edward. Patton, Jason W. Design by Society: Science and Technology Studies and the Social Shaping of Design., Design Issues; Summer2004, Vol. 20 Issue 3, p1-12, 12p

Howard, Jeff. Toward Participatory Ecological Design of Technological Systems. Design Issues; Summer2004, Vol. 20 Issue 3, p40-53, 14p
Abstract: This article identifies aspects of the three frameworks that are in line with the sensibilities and emphases of participatory design and aspects that are not, and to suggest opportunities for promoting strategies within these paradigms that are more effectively participatory. Participatory design encompasses a variety of strategies to give the people who will use a particular technology or technological system a direct role in decision making about its development. The principal objective of participatory design is empowerment of lay people to participate deeply, and with some measure of authority, in the evolution of technological systems. The other two participatory design emphases, the importance of the local and the importance of organizational context, are best understood as serving this central objective, providing insights into what participatory design proponents believe it means for laypeople to be empowered, and how they believe this empowerment can be brought about. It seems there are significant opportunities for integrating participatory design emphases and participatory design-style lay engagement into industrial ecology, strong precaution and community-based social marketing.

Fortun, Kim. Environmental Information Systems as Appropriate Technology. Design Issues; Summer2004, Vol. 20 Issue 3, p54-65, 12p
Abstract: This article discusses one particular environmental information system, an interactive Web site called Scorecard, which is supported by a relational database that contains profiles of more than 6,800 chemicals. Maintained by the Environmental Defense Fund (EDF), the site integrates local pollution information for the U.S. with information on health risks, and with information on relevant environmental regulations. It allows users to produce customized reports, and encourages communication with the U.S. Environmental Protection Agency, or with a polluting company. The main argument is that Scorecard is an example of an appropriate environmental information system, designed in a way attuned to the material, political, and technological realities with which it works, and to the social actors who will be its users. The goal of Scorecard is to provide the information base for sustained effort to reduce pollution risks. Putting pressure on polluting facilities through disclosure of their emissions is a key strategy. EDF also wants it to be commonplace for people to use local environmental information when making decisions about what city or neighborhood to live in, or about what products to buy.

Kazmierczak, Elzbieta T. Design as Meaning Making: From Making Things to the Design of Thinking. Design Issues; Mar2003, Vol. 19 Issue 2, p45-59, 15p
Abstract: Focuses on the semiotic relations between perception and meaning construction to explain the perceptual and cultural codes involved in communication. Core of design or graphic presentation; Information on why cognitive semiotics offer good results; Origin of concept maps.

Wai, Kin. Siu, Michael. Users' Creative Responses and Designers' Roles. Design Issues; Mar2003, Vol. 19 Issue 2, p64-73, 10p
Abstract: Argues that users have their own preferences and creative ways for dealing with user-unfit designs. Information on the early modernist thinking about planning and design; Discussion on the reader-response concept.

Terzidis, Kostas. Hybrid Form. Design Issues; Mar2003, Vol. 19 Issue 2, p76-80, 5p
Abstract: Focuses on the significance of morphing to contemporary design discourse. Difference between morphing and metamorphosis; Information on interpolation; Use of skeletal shapes in architecture.

Hadlaw, Janin. The London Underground Map: Imagining Modern Time and Space. Design Issues; Winter2003, Vol. 19 Issue 1, p25-35, 11p
Abstract: Focuses on the creation of the London, England Underground Map that appeared in 1933 and originally designed in 1931 by Harry Beck. Description of the map; Manifestations of the map's legibility; Function of a map.

Phillips, Mike. The Sadeian interface: computers and catharsis. Digital Creativity; Jun2000, Vol. 11 Issue 2, p75-87, 13p
Abstract: This paper explores the limitations of contemporary interface design and offers the potential of more profound forms of interaction by drawing on the rich and much older heritage of interactive art. Whilst HCI design is preoccupied with making the computer more simple to use, installation work, kinetic sculpture, and interactive multimedia art forms have generally been more concerned with the predicament of human/technological negotiation, whilst remaining a salient form of human communication. HCI activity sets out to make the complex systems of computing easy to understand and use, whilst interactive art often uses simple technology to make complex, inspiring and esoteric statements and experiences. In many ways the more simple and 'low resolution' the technology the more immersive, acute and intimate the experience. 'Low resolution' examples such as telephone-sex-lines are explored alongside more immersive systems, such as biofeedback interfaces, and other interactive experiments drawn from the 'technic' strand of art history. [ABSTRACT FROM AUTHOR]

Gooch, S. Raine, J. The Dynamics and Limits on the Scaling of a Flexible Kinetic Sculpture. Proceedings of the Institution of Mechanical Engineers -- Part C -- Journal of Mechanical Engineering Science; 4/24/2000, Vol. 214 Issue 4, p537-548
Abstract: Highly flexible structures may be scaled up by different criteria that lead to different degrees of structural integrity as the scale increases. This paper first explores the effects of different scaling rules, focusing in particular on a double-size version of the Len Lye kinetic sculpture Blade, whose aesthetic performance characteristics must be preserved as the size is increased. Stresses in the sculpture increase, reaching first an economic limit beyond which frequent fatigue failure makes the sculpture too costly to operate. As the scale further increases, a size is reached where the sculpture will collapse. A dimensional parameter for comparing the values of the life to failure for different construction materials is also developed. The second part of the paper summarizes the results of different analytical approaches to the dynamics of Blade, both with and without the inclusion of an axial acceleration load due to gravity. The results of analyses are found to be in good agreement with experimental data. The paper closes by discussing some of the design implications of implementing the drive system for a double-size version of Blade that has been built and is now on public display. [ABSTRACT FROM AUTHOR]

Ramia, Mazé. Redström, Johan. Form and the computational object. Digital Creativity; Mar2005, Vol. 16 Issue 1, p7-18, 12p
Abstract:n Interaction Design, we are presented with an opportunity to return to the designed object as a subject of enquiry with a new perspective. We suggest a reconsideration of form as the starting point for developing a deep under standing of computational things and an approach to dealing with their inherent complexity. Understanding the object as composed of both spatial and temporal form, we can use materials to design a ‘surface’ for experience that extends beyond the three-dimensional object. Presenting both theoretical considerations and design examples, we discuss the potentials of a new perspective on form as a basis for design research and education. [ABSTRACT FROM AUTHOR]

Jacucci, Giulio. Linde, Per. Exploring relationships between learning, artifacts, physical space, and computing. Digital Creativity; Mar2005, Vol. 16 Issue 1, p19-30, 12p
Abstract: Despite the interest in physical interfaces, field studies directly informing development and field trials of prototypes are rare. Particularly rare are design projects that integrate the space and existing artifacts as a resource. We report on the development of an interactive learning environment in support of students of architecture and interaction design. Based on ethnographic fieldwork we specified a set of qualities of the learning environment, which guided the development of physical interfaces (using tags, sensors, video tracking, physical and digital infrastructures). To investigate how students would integrate technologies in their work settings we have organized field trials with open prototypes. These showed the value and some means of mixing evolving artifacts with digital media. In interactive installations students used the space as a stage to experience and explore aspects of places and situations. [ABSTRACT FROM AUTHOR]

Downs, Simon. Is it a book, is it a screen, no it's...—graphics and the interface in electronic paper. Digital Creativity; Mar2005, Vol. 16 Issue 1, p31-42, 12p
Abstract: There currently exists a sharp boundary, in both technological and design terms between graphic design for screen and for print. These distinctions stem from the nature of the broadcast environment. Each has its benefits-portability and extreme durability for books (running into thousands of years), interlinking and expandability for electronic design-and its distinct drawbacks.What if we could merge the best of these two worlds into one elegant whole? We could have a document with all that that entails; portable, durable, and cheap, but with web like features, such as search functions, linking and the ability to access other media? In principle, the technology is already here, but is it everything that the developers claim, and what should the designers' response be to such a media. In this paper, both questions are examined, and some surprising conclusions are drawn. [ABSTRACT FROM AUTHOR]

Isomursu, Minna. Jacucci, Giulio. Facilitated and performed 'happenings' as resources in ubiquitous computing design. Digital Creativity; Dec2004, Vol. 15 Issue 4, p223-231, 9p
Abstract:Use experience has been proposed as a primary goal and driving force in interactive system design, raising the issue of how evidence can be gathered to design for use experience'. According to particular views in anthropology, experience can be studied analyzing its expressions. We provide examples of this from two projects: the configuration of open prototypes in a co-development project to create a mixed media environment to learn architecture design: and an evaluation technique for mobile and context aware services in a city centre that puts participants in the condition to express and record comments. In the discussion we propose resources for experience and its expression in design happenings': performance space, props and interactional creativity. [ABSTRACT FROM AUTHOR]

Cappelen, Birgitta. Andersson, Anders-Petter. From designing objects to designing fields--from control to freedom.
Digital Creativity; Jun2003, Vol. 14 Issue 2, p74-90, 17p
Abstract: In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi. [ABSTRACT FROM AUTHOR]

Lemon, Richard. Mobiles: The soaring art of Alexander Calder. Saturday Evening Post; 2/27/1965, Vol. 238 Issue 4, p30-35, 6p
Abstract: Presents information on the works of sculptor Alexander Calder. Term used by painter Marcel Duchamp to describe Calder's art; Career and personal background of Calder; Approach adopted by Calder in making his mobile sculptures.

Byron, William R. Wacky Artist of Destruction. Saturday Evening Post; 4/21/1962, Vol. 235 Issue 16, p76-79, 4p
Abstract: ocuses on the life and works of sculptor Jean Tinguely. Development of an improbable piece of sculpture compose of heterogeneous parts and set it on fire; Marketing of metamatic sculptures to museums; Passion of Tinguely for monstrous creations; Conception of mechanized sculpture designed to commit suicide.

Pfeifer, Rolf. Iida, Fumiya. Bongard, Josh. New Robotics: Design Principles for Intelligent Systems., Artificial Life; Winter2005, Vol. 11 Issue 1/2, p99-120, 22p
Abstract: New robotics is an approach to robotics that, in contrast to traditional robotics, employs ideas and principles from biology. While in the traditional approach there are generally accepted methods (e. g., from control theory), designing agents in the new robotics approach is still largely considered an art. In recent years, we have been developing a set of heuristics, or design principles, that on the one hand capture theoretical insights about intelligent (adaptive) behavior, and on the other provide guidance in actually designing and building systems. In this article we provide an overview of all the principles but focus on the principles of ecological balance, which concerns the relation between environment, morphology, materials, and control, and sensory-motor coordination, which concerns self-generated sensory stimulation as the agent interacts with the environment and which is a key to the development of high-level intelligence. As we argue, artificial evolution together with morphogenes is is not only "nice to have" but is in fact a necessary tool for designing embodied agents. [ABSTRACT FROM AUTHOR]

Causey, Andrew. Sculpture Since 1945 (Oxford History of Art). Oxford University Press, 1998

McEvilley, Thomas. Sculpture in the Age of Doubt. Allworth Press, 1999

Brett, Guy. Nash, Marc. Force Fields: An Essay on the Kinetic. Actar, 2000

Olafur Eliasson: Surroundings Surrounded: Essays on Space and Science. ed Weibel, Peter. MIT Press, 2002

Briggs, Asa. Burke, Peter. De Gutemberg a Internet: una historia social de los medios de comunicacion. Taurus, 2002

Nixon, Mignon. Fantastic Reality: Louise Bourgeois and a Story of Modern Art. MIT Press, 2005

Baudillard, Jean. The Conspiracy of Art: Manifestos, Texts, Interviews. MIT Press, 2005

Richard Serra. ed, Foster, Hal. MIT Press, 2000.

Labrada, Geronimo. El Registro Sonoro. Voluntad, 1995

Redish, David A. Beyond the Cognitive Map: From Place Cells to Episodic Memory. MIT Press, 1999

Hobbs, Robert. Alice Aycock: Sculpture and Projects. MIT Press, 2005

Partsch, Susanna. Klee. Taschen, 2003

CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother. ed, Levin, Thomas Y. Frohne, Ursula Frohne. Weibel. MIT Press, 2002

Zielinski, Siegfried. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. MIT Press, 2006

McCullough, Malcolm. Digital Ground: Architecture, Pervasive Computing, and Environmental Knowing. MIT Press, 2004

Wilson, Stephen. Information Arts: Intersections of Art, Science, and Technology. MIT Press, 2003

Whitelaw, Mitchell. Metacreation: Art and Artificial Life. MIT Press, 2004

Kahn, Douglas. Noise, Water, Meat: A History of Voice, Sound, and Aurality in the Arts. MIT Press, 2001

Mitchell, William J. Placing Words: Symbols, Space, and the City. MIT Press, 2005

El ABC de (triangulo-cuadrado-circulo): La Bauhaus y la Teoria del Diseno. Gustavo Gili, 1993. ed, Lupton, Ellen. Miller, Abbot J.

de Duve, Thierry. The Definitely Unfinished Marcel Duchamp. MIT Press, 1993

The Idea of Design. MIT Press, 1996. ed, Margolin, Victor. Buchanan, Richard.

I guess this is enough for now, but the list will keep growing...if I ever get to read all the books...
by the way...do you see a particular preference for MIT Press? Hm...I just noticed it.

0_0

Geek-O-Meter is about to explode. BEEEEEP! BEEEEEP! BEEEEEEP!

Zeros and Ones

Artificial Intelligence and its origins and all, I have read about it so many times now, but I'm barely getting a grasp of it, so far nor logic or mathematics or derivations of both have given us an intelligent machine, but why would we like to do such thing? Why would we like to build/give birth to a machine that is no longer a model of life itself but an example of it? Where's the line -if there is one- if we want/need/allow one? In the end it seems people is doing AI research because it's fun, or because it will help humanity, but the notion of 'helping' is just too naive for me to believe, like if we didn't make it through thousands of years, maybe the fact that we know as a specie that we are going to be gone in a few thousand years...is this research aimed at the reproduction -as in a sexual reproduction- of our brains/mind/soul...our genes (genetic CODE...CODE! CODE!)...is our soul what we want to inoculate in a pod?

I wish it was truly RANDOM

But I guess it's just another computation...

:?

Random writings.

If un-understandable. Oh well, I can't even understand what I write either, it's just a flow (nope, not Sven's Flow!) of words coming out of my head.

:)

E.A.T. The New Media Reader, chap 14.

'Four Selections by [E.A.T.] Experiments in Art and Technology'
Artist-engineer relationship through a collaborative experience.

Billy Kluver's 'The garden party'
Behaviour of peers, and influences over each other work.
Jean's machine parts went from the chaos of the dump to the chaos of the dump again...was he completing cycles? Is the cycle of the city itself addressed in the project?
('...you spin me right round baby right round like a record baby right round round round...')
'...control is the necessary element of that society [technocratic]...'
And then the machine is dead for the people to take it home..and maybe it all ended up (or not) at their homes and now that scrap is worth millions. But as said, we must be the masters of creation, but creation is such an excessive word...but can not think of a different one yet...

Billy Kluver 'The Pavilion'
The visitor was encouraged to explore the environment and build his own experience...hm, quite interesting...and Billy is also saying the emphasis is now the individual's relationship with the environment: when we relate to the environment we are able to build experiences through? on? over? the environment, how's the layering working now? '...human motivation, and involvement, pleasure, interest, excitement...' But it seems we are in the same phase...did we just skipped/missed 40 years of research? The pavilion was an experiment in individual experience...but is the individual alone in the environment? Or we need more people to make the environment a communal 'thing' and then from that build up, in a sense, do we need a community to experience the environment as an individual? The project was built based on collaboration and the outcome is an individual experience...and one of the key issues of building the pavilion is grouping, discussing, teaming up...hm. (Deep breath here) And the corporate issues...

Environment and electronics.

Whenever I'm soldering...or just looking at electronic parts...lead, chemicals, burning, putting away unused/burned/old parts, I know this is so much fun, but how...? Are we going to be like Elmo in a few years? Screaming our guts out fully intoxicated?

Guess what, I'm already controlling something!
This is Elmo crying his guts out. As simple as modifying the system with a variable resistor know in the geeky world of electronics as a potentiometer. It's a big mpg, takes a while to load, but I did it for you! My beloved audience! So you can get to listen to the suffering screams of the dying creature! Poor Elmo, I feel like I'm doing this to him:

Hm.

I was wondering how smoke can be a computation...is it?

Computation 5. Thinking about computations.

'Thinking'...a process that obeys finitely describable rules...'about computations'...a process that obeys finitely describable rules..but why why why... Had to read first (a computation), then think (computation as well) about computations (computations are computations right?), then write (computation) about computations (you again?) If you are not dizzy enough, wait and see...there's a whole semester ahead of us including computations! So far, every computation mentioned has mini computations inside, each one can be taken apart from the main process and studied independently, and as a whole they behave as a computation as well, there's a relationship between all of them in one way or another, but are those relationships true...or is just the way I am looking at things, I guess it all depends on the lens. How far can this take me? Would I like to be taken there..where is that there, is finding out a computation itself? (debugging process, now I talk to myself)

Computation 4. Mailing stuff to Miami.

You wonder...it's sunday, is fedex going to be open? dhl? The post office? Have to send really important documents to Florida, a friend of my mom gave me the quest (YES YES! I AM PLAYING WORLD OF WARCRAFT! And I get to do it for homework..how's that? HA!) and I also have to send a check to a friend, living in this country without a crdit card is just a hassle, can't buy things online, books online, dj crap online, nothing! I hate it, going back to where I was, I said: ok, let's walk, I had the documents on an envelope, but the check was naked (meaning no envelope), so I walked in front of fedex: closed, dhl: open, too expensive, and I just like the Federal Office Building: 90 Church Street, a beautiful art deco style type of building designed by Cross & Cross, 1935 I think, lovely interiors, let's go there I say (I talk to myself all the time...part of the debugging process) and there I am, revolving door, high ceilings, impressive...have to find the flying gear for my check, you can not be a flashy check on a plane! Rich but naked, such a (western) contradiction. The store is closed, found some craft paper envelopes, there you go check, fly baby fly! Got to buy the stamps, no windows are open: use the automatic stamp machine: the process here is definitely a computation, find the drop off window, I do: envelopes...off you go. Walk back home (walking is a compputation!). Oh no...we are surrounded by computations. Staind has an album called Break the Cycle...I do not know why I bring this up.

Computation 3. Calling to Colombia.

My grandma is sick, grandpa is sick too, my dad had a heart attack in December, but heck...I'm in NYC! But still you have to call them right? Let's walk through the process (as I said before walking might be a computation, even though everyday feels closely related to Rucker's definition of a computation than to a non computational thing) and see? I already said calling to Colombia is a process, let's see if calling obeys finitely describable rules: Buy a phone card, I like STI phone cards, three options I have: $2, $5, $10, depends on the day, money comes, money goes (basic economy theory here), somehow money doesn't want to stay with me for a long time, so $2 and $5 STI phonecards are becoming close friends, so I've narrowed the options from three to two, suddenly I end up with a $2 phonecard (really really close friends). Dial 212 201 6996 (for spanish, I'm just lazy when it comes to talk over the phone in english, in general I do not like cel phones, not even in spanish) 'When prompted, enter your PIN number' so I do ****-***-****, 'For calls to any other country: dial 011+country code+city code+telephone number' and I do get connected or not, if not, I try again. Let's review the process, a few steps, perfectly describable, and all of them finite, unless the phone lines are full and then calling 'takes forever' HA! Beat you computational thing!...No I did not. :( Calling my family is a computation, why did you all have to read about grandma, grandpa and my dad...oh well, I don't know.

Computation 2. Walking through NYC.

Let's say I agree with Rucker's definition, then walking is a computation, step after step after step, conceptually aligned, structurally aligned, but how about walking through New York City...ha! Let's say thinking is a computation, but making decisions? What if I want to go this way or the other one, I have a blank space in a process (I'm already saying it's a process! I'm doomed), say you are in D but you don't know if heading towardsE or F is better, even worse, let's say you have 10 different options, is making a decision part of a process? hm...it seems like it is...but how about the randomness of the decision...is it predictable? Clearly it is a finite describable process...hm...and everything seems like part of a process obeying finitely describable rules, but how do we make decisions, is it randomly or not? Where is 'random' showing up...I am confused about this one, it may be a computation, but maybe not, perhaps that's why Artificial Intelligence seems so far, but yet so close?

Computation 1. Cooking.

As a fan of cooking I find recipe-based cooking very computational, but as a fan of contemporary cuisine, and a fan of improvisational cuisine...do I follow a finitely (certainly) set of rules? Choose whatever food I like...raw, and as fresh as possible, choose whatever spices I feel like using, wait a minute, process of choosing: describable and finite, in both cases; now mix the spices, add to food, wait a minute: mixing and adding: describable and finite, hm...and everything altogether...is a process(!)...it seems like a computation doesn't it? And I thought I was going to get away from the 'computational' side. Hm.