Toward a Minor Tech:Menotti-500 - Revision history

Menotti at 15:47, 20 January 2023

2023-01-20T15:47:37Z

← Older revision		Revision as of 15:47, 20 January 2023
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	This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.		This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.

	The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media ~~propagate~~ (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.		The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media propagates (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.

	What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.		What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

Menotti: Added image

2023-01-20T15:43:31Z

Added image

← Older revision		Revision as of 15:43, 20 January 2023
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	'''Moving Textures'''		'''Moving Textures'''

	Gabriel Menotti		'''Gabriel Menotti'''

	So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.		So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.
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	Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.		Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.
			[[File:Dreammachine.jpg\|thumb\|A dreamachine (Gareth Spor, Wikimedia Commons, 2008).]]
	[[File:Dreammachine.jpg\|thumb~~\|left~~\|A ~~dream machine~~ (Gareth Spor, Wikimedia Commons, 2008).]]

Menotti: Added image

2023-01-20T15:30:59Z

Added image

← Older revision		Revision as of 15:30, 20 January 2023
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	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]
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	Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.		Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.

			[[File:Dreammachine.jpg\|thumb\|left\|A dream machine (Gareth Spor, Wikimedia Commons, 2008).]]

Menotti: revision

2023-01-20T14:51:37Z

revision

← Older revision		Revision as of 14:51, 20 January 2023
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	Gabriel Menotti		Gabriel Menotti

	So-called poor media has a wealth of its own. TikTok choreographies and ASMR ~~voice overs~~ win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.		So-called poor media has a wealth of its own. TikTok choreographies and ASMR voiceovers win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

	What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the ~~exceptional~~ qualities of the ''textural''. Textures, as defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are ~~traditionally~~ said to unfold through the sense of touch. Textures, in that ~~sense~~, bear some sort of ''synesthetic density''.		What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the singular qualities of the ''textural''. Textures, as once defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This structural insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are often said to unfold through the sense of touch. Textures, in that regard, bear some sort of ''synesthetic density''.

	This capacity ~~to excite multiple senses at once~~ makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, ~~enabling~~ high-fidelity sensation with little information ~~transmission~~.		This large capacity for sensorial excitement makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, conveying high-fidelity sensation with little transmission of information.

	The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media ~~spread~~ (like) frequencies to be vibed with. Transduction, rather than communication, is the name of ~~the~~ game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our ~~coupling~~ with the machine.		The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media propagate (like) frequencies to be vibed with. Transduction, rather than communication, is the name of this game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest and compulsion, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our couplings with the machine.

	What follows feels like the surrender of agency. ~~Just as~~ consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.		What follows feels like the surrender of agency. As consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

	Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects ~~and the disintegration of public spheres~~. An electronic babysitter for the disaffected of any age, ~~substituting~~ meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while transmuting people into views, likes, and subscribers.		Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, playing its part in the disintegration of public spheres as it substitutes meaningful exchanges by a diffuse atmosphere of amorphous comfort - clogging the wires while transmuting people into views, likes, and subscribers.

Menotti: final paragraph

2023-01-20T14:11:20Z

final paragraph

← Older revision		Revision as of 14:11, 20 January 2023
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	What follows feels like the surrender of agency. Just as consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.		What follows feels like the surrender of agency. Just as consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

	Together, the newsfeed and moving textures co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, substituting meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while ~~disintegrating public spheres and~~ transmuting people into views, likes, and subscribers.		Together, the newsfeed and moving textures seem to co-operate for the production of persistent network effects and the disintegration of public spheres. An electronic babysitter for the disaffected of any age, substituting meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while transmuting people into views, likes, and subscribers.

Menotti: the text, first version

2023-01-20T14:08:35Z

the text, first version

← Older revision		Revision as of 14:08, 20 January 2023
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	Gabriel Menotti		Gabriel Menotti

			So-called poor media has a wealth of its own. TikTok choreographies and ASMR voice overs win at the attention economy also because they achieve affective responses disproportionate to their modest (re)production requirements. There isn’t much to see, and it rarely matters what is being said. Through localized – and rather specific – stimuli, these and other kinds of oddly satisfying content overpower the available sensoria.

			What could otherwise be taken as a formal deficit is at the core of this hypnotic potential. As a minor genre sitting at the fringes of commercial entertainment, oddly satisfying media seems to capitalize on the exceptional qualities of the ''textural''. Textures, as defined by Eve Segdwick, constitute “an array of perceptual data […] whose degree of organization hovers just below the level of shape or structure” (2003, 16). This insufficiency may lead to a short-circuiting of perception that supplies the feeling of physical properties not immediately present or represented. As one probably knows, particularly textural sights and sounds are traditionally said to unfold through the sense of touch. Textures, in that sense, bear some sort of ''synesthetic density''.

			This capacity to excite multiple senses at once makes textures instrumental for the aesthetic economy of digital media. As an actual component of digital assets, textures underpin hyperrealism and special effects alike, enabling high-fidelity sensation with little information transmission.

			The textural character of oddly satisfying media becomes evident in their propensity towards kinetic abstraction. Any meaning they may express is of little relevance and often interchangeable by any other. The logic under which they operate is above all ''phatic'': more than signals to be decoded, oddly satisfying media spread (like) frequencies to be vibed with. Transduction, rather than communication, is the name of the game. External references become subsumed under the pure concatenation of internal motion. By way of cognitive arrest, moving textures integrate bodies into the otherwise incommensurable workings of media technologies, facilitating our coupling with the machine.

			What follows feels like the surrender of agency. Just as consumption habits make one increasingly readable to the system, knowing subject and knowable object trade positions. Mesmerizing stimuli take the self out for a ride. Hi-octane fuel for late night doomscrolling: within the prosaic realities of social media, moving textures supplement the perverse incentives of the newsfeed. The latter infamously revolves like a slot machine, keeping us hooked with the deferred promise of a dopamine rush. The former, meanwhile, spins like secular praying wheels, inciting gleeful resignation.

			Together, the newsfeed and moving textures co-operate for the production of persistent network effects. An electronic babysitter for the disaffected of any age, substituting meaningful exchanges by a diffuse atmosphere of amorphous comfort – clogging the wires while disintegrating public spheres and transmuting people into views, likes, and subscribers.

Menotti at 12:57, 20 January 2023

2023-01-20T12:57:45Z

← Older revision		Revision as of 12:57, 20 January 2023
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	[[Category:Toward a Minor Tech]]		[[Category:Toward a Minor Tech]]
	[[Category:500 words]]		[[Category:500 words]]
	~~oi!~~		'''Moving Textures'''

			Gabriel Menotti

Menotti: page created

2023-01-20T11:08:54Z

page created

New page

[[Category:Toward a Minor Tech]]
[[Category:500 words]]
oi!