How Holodeck is not "diagrammatic"

Omar pointed to Wyn Burleson’s Holodeck at NYU.  http://holodeck.nyu.edu/.  It’s an extremely helpful link.  
(We at AME know the director.)  Can you all please point out how it differs from or resonates with what you envision?  It says some of the right things, but somehow is not what I envision what we aspire to create.  It’s important for "branding" purposes to explain how Diagrammatic ≠ Holodeck.   Muindi articulated the differences lucidly:

@xinwei Thanks for sharing the link to the Holodeck. I think it would be a fruitful exercise to distinguish between what we desire and dream about and the expressed desires and dreams of the  NYU group. One thing that immediately comes to mind is that the term “Holodeck” conjures very different cultural artifacts and theories than Garrett’s term “Diagrammatic” does. This is not just a matter of cultural distinction: a high-culture reference to the ideas of French philosophers vs. a low culture reference to Star Trek. NYU’s Holodeck website features the term “verisimilitude” and it is “verisimilitude” that they are after when they seek to create “immersive environments” that advance “high-fidelity simulation”. The Stark Trek Holodeck is all about “verisimilitude”. I, for one, haven’t any interest in verisimilitude. Understand that "verisimilitude" implies a simulation being truly like what it represents, like a holographic simulation of a battle that "looks and sounds just like a real battle does".Deleuze and Guattari’s diagrams aren’t “true likenesses” (verus + similis). D+G’s diagrams are rough sketches (think of Leonardo Da Vinci’s sketches) at their most “verisimilar”, when most like what they are describing; and they are gestural abstractions (think of Cy Twombly's paintings) at their least “verisimilar”, when least like what they are describing. To use a more scientific example: a phase portrait of pendular motion is a kind gestural abstraction that is not "verisimilar" to what it describes, that is not a "true likeness" of what it describes.An immersive environment for creating gestural abractions with others is one thing, an immersive environment for verisimilar simulations of phenomena is another thing altogether. The former is what I am after. (edited) 




Embodied Learning Spaaces design, video + transcript

Dear Synthesis Embodied Learning group

Here’s the video + transcript of the 
Topic: Synthesis Embodied Learning Spaces
Date: May 15, 2020 01:48 PM Arizona

Access Password: SynthesisB21!


@Ivan et folks interested in tracking freehand gesture: ..  freehand part of Garrett's Diagrammatic, let’s consider 

GESTURE FOLLOWER :  http://rapidmix.goldsmithsdigital.com/features/gesture-follower/
The Gesture Follower allows for real-time comparison between a gesture performed live with a set of prerecorded examples. The implementation can be seen as an hybrid between DTW (Dynamic Time Warming) and HMM (Hidden Markov Models).  The Gesture Follower corresponds to a different interaction paradigm  motivated by applications on expressive visuals and sound control: the system outputs “continuously” (i.e. on a fine temporal grain) parameters characterising the performed gesture.


Omar as interested in AR markup of public space, looking at Microsoft’s AR toolkit, and having built his own back end with a Google-earth interface.  Just finishing his MS at NYU

Connor in-house expert, and a principal author of SC kit.

Xin Wei
___________________________________________
________________________________________________

sutured augmented learning spaces, diagrammatic, 5/8 2 PM MST

See Zimin Proposal (augmented learning environment) https://docs.google.com/document/d/1vLwEIvjrWbPanZ2ZLKFOBzEvIzyrkTwmkfkARBTyOgQ/edit

Diagrammatic Master Doc https://docs.google.com/document/d/1k0Up-3Q0YvZbbBJwmaeqRN0RfsAJeDwGQzaoAmbn7CM/edit

Possible courses and workshops:

• Digital Culture / Media studies / Computational thinking; Media choreography for non-coders (Leonardo?) • Augmented sutured learning environments + diagrammatic + ecology of things • Place-labs (Dartington, Leonardo) • Alter-Economics: alter-finance (EGS, UNDP) • Emergence, Individuation, Ontogenesis, complex systems (EGS, UNDP)

• Trans-course portfolio

Experiment and Experience (v2)

The syllabus for the seminar on Experiment and Experience may be useful background.  Here are readings with embedded extracts:

Artaud, Antonin. The Theatre and Its Double: Essays. London,: Calder & Boyars, 1970.

Carl Bergstrom and Jevin West, Case Study: Criminal machine learning, 2017.

Brook, Peter. The Empty Space. [1st American ed. New York,: Atheneum, 1968.

Brook, Peter. The Open Door : Thoughts on Acting and Theatre. 1st Anchor Books ed. New York: Anchor Books, 2005.

Burnett Masters of All They Surveyed "Terra Incognita" and "Marks on the Land"

Calude, Cristian S., and Giuseppe Longo. "The Deluge of Spurious Correlations in Big Data." Foundations of Science 22.3 (2017) 595–612.

Debord, Guy. The Society of the Spectacle. La société du spectacle 1967. New York: Zone Books, 1994.

Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus : Capitalism and Schizophrenia. tr. Brian Massumi. Minneapolis: University of Minnesota Press, 1987(1980).

Derrida, Jacques. Writing and Difference. Chicago: University of Chicago Press, 1978.

Grotowski, Jerzy, and Eugenio Barba. Towards a Poor Theatre. 1st Routledge ed. New York: Routledge, 2002.

Heidegger, Martin. Poetry, Language, Thought. HarperCollins Canada / Harper Trade, 2001.

Henrich, Joseph, Steven Heine, Ara Norenzayan, "The Weirdest People in the World," 2009.

Heraclitus, and Charles H. Kahn. The Art and Thought of Heraclitus: An Edition of the Fragments with Translation and Commentary. Cambridge, [Eng.] ; New York: Cambridge University Press, 1979.

James, William. Essays on Radical Empiricism. York: Longman Green and Co, 1912.

Jänich, Klaus. Topology. Berlin: Springer-Verlag, 1980, 1984.

Latour, Bruno. “Drawing Things Together”

Lefebvre, Henri. Rhythmanalysis : Space, Time, and Everyday Life. London, New York: Continuum, 2004.

Magnusson, Thor. “Of Epistemic Tools: musical instruments as cognitive extensions,” Organised Sound, 14  (2009), 168-176.

Marker, Chris. San Soleil (film).

Maturana, Humberto R., and Francisco J. Varela. Autopoiesis and Cognition: The Realization of the Living. Boston Studies in the Philosophy of Science. Vol. 42. Dordrecht, Holland, Boston: D. Reidel Pub. Co., 1980.

Merleau-Ponty, Maurice, and Donald A. Landes. Phenomenology of Perception. Abingdon, Oxon ; New York: Routledge, 2011.  Introduction & ToCExcerpts re. the Body.

O’Gorman, Marcel, Necromedia

Petitot, Jean. "Morphological Eidetics for Phenomenology of Perception." Naturalizing Phenomenology: Issues in Contemporary Phenomenology and Cognitive Science. Ed. J. Petitot, F. J. Varela, J.-M. Roy, B. Pachoud. Stanford: Stanford University Press, 1999. 330-71.

Pye, D. The Nature and Art of Workmanship. Cambridge UP, 1968, 17-29.

Prigogine, I., and Isabelle Stengers. Order out of Chaos : Man's New Dialogue with Nature. Toronto ; New York, N.Y.: Bantam Books, 1984.

Sennett, R. The Craftsman. Yale University Press, 2008, Chapter 1.

Sha, Xin Wei. Poiesis, Enchantment, and Topological Matter. MIT Press, 2013.

Sha X. W., "Topology and Morphogenesis," Theory, Culture & Society 29 (4-5), 2013.

Sicart, Miguel. "Against Procedurality." Game Studies 11.3 (2011).

Stengers, Isabelle. "Beyond Conversation: The Risks of Peace." Process and Difference: Between Cosmological and Poststructuralist Postmodernisms. Eds. Keller, Catherine and Anne Daniell. New York: SUNY, 2002. 235-55.

Whitehead, Alfred North. Process and Reality: An Essay in Cosmology. Eds. Griffin, David Ray and Donald W. Sherburne. Corrected ed. New York: The Free Press, 1978.

Wittgenstein, Ludwig, and G. E. M. Anscombe. Philosophical Investigations : The German Text, with a Revised English Translation. 3rd ed. Malden, MA,: Blackwell Pub., 2003.

Xiaolin Wu, and Xi Zhang, "Automated Inference on Criminality using Face Images," 2016.  With responses to critiques. (2017)