************ Sebastian Lütgert ************ -------------------------------------------------------------------------------- (Dekonstruktion) part of 1: Emphatic effusive inspiring A. Sense and purpose of the surface transformation it go first around adding flat the screen a quasi third dimension. That sounds stupid and is also so fast said it (s. e.g. the assertion of stereo in JLG/JLG; so similarly one could explain probably also this three-dimensionality). But: this three-dimensionality implies, which becomes changeable the page. Perhaps only abstractly abstractly, but it can become still more from it. And one can say, who can set everyone in such a way the cuts, like he/they wants (and like it arises). And one could load for example into the background the Microsoft front PAGE and put over it a Surround cross (this 3rd example is the art example). further this surface implies the fact that one virtually (does not know whether the term is here so correct) everything (the whole) sees, but not really. It gives thus hors champ. The television has e.g. none hors champ, but only a hors scène; what is to be seen in the television and with amazon.com, wants to say, follows directly the surrounding living room and serves only to be salespromoting. Therefore are my background also black (as in the cinema). B. CULTURE CRITICISM (better fly over) an MacOS emulator (with Windows of windows to speak is actually not correct, because one opens rather Applications instead of windows. With the Mac there is e.g. never window in windows. Instead one sees virtually always all windows at the same time.) additionally would be quite beautiful; finally (it is always totally heavy to explain to people that each window is only one window and is that possibly different windows of other programs behind it which one can also use, and the windows of certain programs are faded out which even possibly), thus, finally the windows are classified as too complicated (the people to want everything to see simultaneous always) and Microsoft invented this button on the top right, which makes the window the display. Thus: one must defend the windows rather. That does not have to do anything with interactivity. Part 2: First criticism A. PROGRAM program-theoretically is not here much in it, because one is too much to the printouts of the language developers bound in JavaScript (nevertheless, and that is already important, pleases me to prototype better than child and parent; are missing unfortunately does class). We should learn C++ nevertheless and develop provisional object models, the monstroese children e.g.: enable etc. from texts and films and excavations. If you me times besuchts, can I you my recordings show. It is a nice attempt to break the language structures by calling Layer ' plateaus '. The boundary becomes however clear, where the OCNcTcEcNcT LAYER in addition-steps, which is quasi either a CHILD the OBERLAYERS or is contained in the MAINLAYER. B. SYSTEM CONTROL I does not like Icons. Quite in former times we were occupied times to paint for real each file and each file their own Icon. Thus to proceed is at least already times better. My idea was however rather to make sowas like the ROLUX postcard. One clicked on a hyperterm (n i c h t meant in the sense of hyper! Hyper!), and then over it a plan which moves away the term covered and of it, oeffent itself. With the spontaneously generatable Layern (Emergenz! Emergenz!) if I thought, one could achieve rather a system Overload or a multiplication of systems (to see at the same time windows from relevant pages of system providers [ bad example presents to you ]). The statement, this plateau surface is so simply that it does not represent a system, is however not correct. And: The problem of the SYSTEM CONTROL places itself not on the level of the Icons, but like I NETSCAPE and MICROSCROT to EXPLORER and MACOS and WINDOWS and UNIX etc. controls, in order to bring this nevertheless so simple Layer TO FUNCTIONING. Incomprehensibly, why for the Netscape programmers too with difficulty is to be implemented, where the whole operating system is based nevertheless in the Event /Fenster model. Why is it so difficult to go through and look only all Layer whether there someone which to executes programmed, before one son scheiss like stupid traffic cursors to show or makes to select text? However that problem of the system control is connected directly with to GET bug phenomenon. Part 3: Second criticism (ironically, above all however speaking and translation-theoretically subtly) A. Aufhoeren / structural open systems / HOUSE and TOWN CONSTRUCTION stopping. Stop. Hear, on which? In frz. more écouter, entendre, more arrêter. Arrestation: action more d'arrêter qqn pour more l'emprisonner. German: gefaengen. Let us our house LINUX build. Europe Europe global global. GNU: Jurifizierung open system / PUBLIC License. I see a large problem (LINUX) Community. that is the ' home ' in do-it-yourself enthusiasts [ however please for this a rejection, because that is nevertheless too bloed ]. Or rather Berlin 2000 GmbH. We build ourselves our public utilities. But I do not know LINUX and the GNU definitions also not, and so I cannot really say something. In connection with display backgrounds far mentioned down one must however still tell that that one is the Hypes of the post office-modern or contemporary or however architecture, at least in France,: TEXTURE. Those make texts on house walls or glass balcony for example. Part 4 and further: Laugh at / Kkaputtmachen (hyperirony, infinite Ernst). But find nevertheless correctly good then. Thus the listeners / reader deterritorialisieren (part of 4 is always the part of the war machine, bare has that never someone understood about those, which listened to Derrida) A. Linux / GNU model versus FILMS MAKING Ce text ne peut être que reproduit, adapté ou traduit, même sans origin d'indication. - one makes films on the road (in addition, in Berlin the road for this purpose always locked, corresponding are the television productions). - in addition, films run in the Internet. So far rather the Charateristika of films of the starts has the Internet films. Simple reproducing / Abfilmen of pictures (motor traffic / advertisement / sales switch / railroad lines). No cuts: plan are not joined (however is a whole number of plan to see), i.e. it develop no third pictures. The decoration and hors champ are so far only abstractly available - then there is however nevertheless Voraenge already more complicated: les image sont mouvant, i.e. they change virtually (e.g. if one switches the music on on Moving material 3); there is the separation between picture and Ton(Text) track (s. image more m:somUnregisterClassWatcher). - further the memory layers do not become as first pictures, i.e. pictures, which nobody has in the heading, and which have the living room at the edge only, d a r g e s t e l l t, as in the Psychoanalyse films, from those 99% of each Berlinale become exist - except some image action there is none streaming as in the newest AOL Trailern. And even these image action abort streaming in each meant moment. If they produce other pictures, then are image affection and image act ion - which is missing and is the situation optique will be not possible et sonore pure. That is so not durable everything. -------------------------------------------------------------------------------- [translation: babelfish.altavista.digital.com] ******************************************************************************** ROLUX h0444wol@rz.hu-berlin.de http://www2.hu-berlin.de/~h0444wol/rolux/