• Every entity, be it human or non-human, leaves traces as it struggles against entropy. Whether an entity’s existence is projected as being, becoming, or having, it inevitably involves a spatial locatedness. That is, it can be approached as a thing leaving spatial traces, or annotations, which in turn can be observed, or tracked
• he emerging practices of locative media mapping have been preoccupied with re-approaching spatiality as the locale of heretofore unseen relations and transforming it from a matter of fact to many matters of concern, sometimes at the cost of great controversy
• a spatial projection approaching networks as a priori homogenous topoi makes itself blind to the entities and logistics performing the effect of homogeneity.
• It suggests that perhaps the controversy around locative media can subside only when mapping efforts concentrate on tracing the intensities of performativity, rather than mistaking its effects for an already present context.
• • nullIn other words, the thing itself has its attributes and qualities defined by the space in which it resides. space is a container in which objects are placed. Those objects then get "categorized", therefore the space defines the object.  -- 2013-02-13
    could this for example describe how a person is associated with the place they are born? ie. I AM an AMERICAN, by way of where I was placed. America existed before me so I am defined and given attributes based on american valuesets and assumptions?  -- 2013-02-13
    
• • a priori - formed or conceived beforehand. More so a term to explain how a person thinks about a subject or an object and establishes its function and traits simply based on "common sense" or "without deeper inquiry
    " 
• space is viewed as always primary to any relations that might be observed.
• • but here he mentions relational attachments BETWEEN entities PERFORM the space. so that the entities create space? Which means that space doesn't exist before the entities create it. Which could mean that space is actually thought of as a concept. America for instance is not a referential solid "place"  but instead an idea that is formed by the entities collected under similar values and ideas. America is performed rather than "existing". the land mass is not america. 
• n other words, the relational attachments between entities perform the space, not vice versa. While the first projection sees space as a static referential context, the second sees space as a dynamic relational effect.
• The only movement that the former projection can detect is the referential jump from an object to its context, while the latter in turn sees all manner of circulations and shifts being performed by, and in their turn performing spatial relations.
• The projection takes it as an a priori condition that there is a “normalised” and “dominant” way to use maps, which, according to Brian Holmes, produces maps of domination and power.
• Therefore at its deepest level the cartography of unveiling is in a two-pronged search, on the one hand for a subject-identity and on the other, for knowledge that will bring empowerment and the ability to act. Its goal is nothing less than ‘to go beyond representation, to rediscover and share the space-creating potentials of a revolutionary imagination’ (Holmes, 2003).
• • homogeneity - the quality of being similar or comparable in kind or nature
• homogeneity
• Coco Fusco directly suggests that the very act of viewing the world as a map ‘eliminates time, focuses disproportionately on space and dehumanizes life’ (Fusco, 2004).
• • nullwoah wait. so this is interesting. Here she says this previous idea of using cartography to unveil ignores time and only focuses on  -- 2013-02-13
    space, leading to the dehumanization of life? Does this mean that in my project by showing how space is traversed and REtraversed in different forms, the idea of time is brought back into the mapping?  -- 2013-02-13
    
• • LAYERS! This is exactly what I am thinking about. the layering of time on space. 
• We may or may not have history “layers” to turn on an off
• Instead of dealing with a totally homogenous imperial infrastructure it will have to deal with unstable techniques.[11]
• The effort of mapping should be precisely to avoid homogenization, to avoid the appearance of “the masses”, and instead look for the tiny conduits along which an image of the masses flows.
• Arguably the cartographer does not unearth the occult connections between power networks, but, to the contrary ‘it is the format of the map that (dramatically) organizes these networks’ (Rogers, 2006).
• If there is a totality, it does not present itself as a fixed frame, as a constantly present context. Instead, ‘it is obtained through a process of summing up, itself localized and perpetually restarted, whose course can be tracked’ (Latour and Hermant, 2006).
• The effect of speed is therefore the result of how much transformation an object undergoes during the trial of transportation.
• In the case of the airplane passenger those others are stable and invisible intermediaries involved in a constant offsetting of the transformation that is being generated by the displacement – that is why the passenger located at 14F is steeped in the boring and uneventful time of airline food, the murmur of the couple in the row behind and the distant buzzing sound of the engines. Not so the intrepid explorer whose every step is a trial defined by mediators with their own terms.
• Therefore the question of importance concerns the logistics permitting circulation without transformation (Latour, 1987: 237). At no point should one take immutability and homogeneity for an always-existing granted framework. Once we direct our studies in this direction we see actors, intermediaries and events which otherwise would always already be hidden from us.
• upholds
• what allows
• The thread is crucially a method for tracing and annotating space, both dynamically in real time, and slowly, that is taking account of every step and every turn. It opens potentialities for action and is a storage technique allowing the retracing of past movements through space. The thread is an interface for accessing space and time, transportation and transformation. Following a thread is slow, but it is the only way to track and represent spatially (and temporally) all topological shifts of the actor.
• • Brilliant! 
• every room has an accessible history
   every place has emotional attachments you can open and save
   you can search for sadness in New York (Russell, 2003)
• maps as interfaces between knowledge and experience (van Weelden, 2006: 26), memory and potentiality.
• The action in this cartographic exercise is brought in by the intermediaries. Remove the intermediaries and one ends up with a Borges map.[26] Trace what mediates, who attaches and how many intermediaries there are, and the resulting map becomes a mediator for the construction of agency in space.
• map is not a copy of a space but a way of opening up space through information’ (van Weelden, 2006: 28), it is a way to add potentialities to space
• Unlike state maps, annotated with “official” points of interest, or unveiling maps upholding a dialectic of domination and oppression, these immersive maps permit users to inscribe space on their own. The focus of this cartography is the production of space; in it maps are inscriptions on, extensions and stratifications of space. They are preoccupied with the tracing of associations of attachments, and therefore the more centred they are on the individual actor as a “producer of space” the better.[30]
• It is my contention that new media cartographies can only hope to unlock the enormous complexity of network topologies if they literally repopulate their maps with the rich performativities of subjects never detached from things.

• ‘the critic is not the one who debunks, but the one who assembles’ (Latour, 2004b: 246).

   

  Author’s Biography

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• while most of the texts read in contemporary literature courses are creative, their creativity is only occasionally the focus of study. Students enroll in courses confident in the knowledge that, for instance, Madame Bovary is on the reading list because it is somehow great art. They leave having discovered that it is psychology or social criticism by other means. Literacy, they learn, is the ability to demythologize.
• First, the free-floating associative mode of discourse that we understand as somehow electronic or televisual--exemplified, for example, in the "logic" organizing Seinfeld, The Simpsons, or James Brown's performance on the T.A.M.I. Show--is not necessarily restricted to electronic or televisual media. It has antecedents in oral and print media.  Furthermore, it bears a remarkable similarity to the inference patterns employed in "poetic" thinking. Why? Because televisual and poetic texts are effects of integrating discourse and medium.

• This interrogative asking ―what is?" was invented by the Classical Greeks in the first schools (the Academy, the Lyceum) and is expressed today in books and journals as required by our institution (school is one of the inventions of literacy as apparatus or social machine).
• • first link to classic philosophy. Here begins the linear tracing of electracy throughout history. 
• Literate readers always want to understand immediately ―what is ‗chora‘?‖ or ―what is ‗Florida‘?‖ Electrate players want to undergo it
• Glue (avatar of Gregory Leland Ulmer, for it is an image not a person)
• The scene is not about what we can name, but what we may experience
• Not an idea, but a felt.
• Not literate, although literacy still functions in that moment as it does now—the techne of conventional consulting (and much expanded, while leaving all the problems in place).
• • literacy still functions and is still relevant. It is just not the main apparatus for navigating our world. 
• All traditional civilizations (oral apparatus, religion as institution) imagined life as descending into a body, that is, into Hades or Hell in some form, that is, into suffering and death, with living as a strategy for ascent, departure, anywhere out of this world. Electracy confronts this obsolete catastrophe, even while comprehending its figure (true to the experience of world).
• This anecdote poses a question about the scene of writing adequate for the Internet, hypermedia, digital electronic storage and retrieval of information. The relevance of Coleridge to the question of electracy was established by Ted Nelson, originator of the term ―hypertext,‖ who named his vision of globally connected information ―Project Xanadu,‖ after Coleridge‘s poem. This name acknowledges the romantic quality of the vision, long before it was technically possible, of the ―hacker‘s dream‖ – total information instantly available to everyone everywhere. ―Xanadu, the ultimate hypertext information system, began as Ted Nelson‘s quest for personal liberation. The inventor‘s hummingbird mind and his inability to keep track of anything left him relatively helpless. He wanted to be a writer and a filmmaker, but needed a way to avoid getting lost in the frantic multiplication of associations his brain produced. His great inspiration was to imagine a computer program that could keep track of all the divergent paths of his thinking and writing. To this concept of branching, nonlinear writing, Nelson gave the name hypertext‖ (Wolf 1995,140).
• • woah! Xanadu was the the poem by coleridge and the feeling of the poem inspired project xanadu which was hypertext, which is the idea that information can be accessed instantly and be available to everyone
• What orality did for spirit and literacy did for cognition, electracy does for imagination (the apparati are complementary, even if their institutions—religion, science, entertainment—are rivals).
• Merle

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• DDoS was born as a protest tool, but it’s grown into a gun for hire, most often aimed at the world’s most vulnerable.

• This is a thoroughly modern idea. The Internet has collapsed eras and places, and ASAP Yams spent most of his childhood downloading. That the first artist he molded would sound like the sum of his accumulated taste was no accident.
• • this is another exampl,e though completely different direction, of how electracy is shaping our understanding of art. Even in Hip-hop the internet has allowed the connectivity of not just rapper's styles, but the ability to mash them all together and analyze. 
    
    the article argues that Rocky and the ASAP brand is sucessful because of the rise of the internet, and more specifically, the death of the isolated individual only cornered to their "place"
• Since April 2010 he’d been running a Tumblr — the title is unprintable — which had become one of the most reliable hip-hop tastemaking sites on the Internet, trafficking in obscure gangster rap, scans from old hip-hop magazines, rare photos and all manner of insider jokes. It had a devoted following — it was historical, attitudinal and an alluring blend of street knowledge and nerd knowledge.
• He was building a reputation as an online tastemaker, spotlighting up-and-coming artists and advocating for a taste level that would be receptive to Rocky’s sound when it was unleashed.

  • whats so interesting is that he was using tumblr as a platform for taste making. In fact, you could argue that this relates back to semiotics where the study of language shapes our culture this is electracy - Yam was directly shaping culture through the internet. 
    
    what is interesting is how it was intentional. 

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• We have seen how the law is wielded less and less to uphold justice, and more and more to exercise control, authority and power in the interests of oppression or personal gain.

  • this is a argument in rhetoric for the idea of social justice and defense of free speech, but only through a new electrate age. 
• We have been watching, and waiting.
• the decision was upheld to engage the United States Department of Justice and its associated executive branches in a game of a similar nature, a game in which the only winning move is not to play.
• The time has come to show the United States Department of Justice and its affiliates the true meaning of infiltration. The time has come to give this system a taste of its own medicine. The time has come for them to feel the helplessness and fear that comes with being forced into a game where the odds are stacked against them.

  • a forward threat to the supreme justices and the government in totality 

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