why psycho-geographic code walks are so lame

The fact that the "code" is modeled on a procedural programming language, is totally superfluous to the action of a psycho-geographic walk. One could ask, why procedural, why programming, why not a score or a set of instructions? Humans don't inherently operate on pseudo-code, humans relate to code about as much as X-code relates to Acconci's poetry.
The psycho-geographic walk is more related to chance operations, an idea very thoroughly unpacked by Cage and Cunningham. To write it in code without exploring aspects of the experience such as action and space in relation to the body, ritual and architecture, is limiting and gimmicky.

What am I missing? Will somebody please tell me?

stick it to the man

the notion of monads is one of aristocracy and elitism where a privileged few, tell it like it is, to the teaming masses.
but somehow the me revolution is one based on the idea of monads, that we can all be them now.
i wonder what the resolution will be.

I hate technology

In the beginning there was craft and the idea,
theory and execution,
now there is the idea, craft and debugging.

Control Room

I turned my status to invisible for the first time today in gmail.

It was incredible, suddenly I was facing my emails alone and in private. No one knew if I was lingering, idling or actively wasting time on my account. I was in silence.

I of course could still see that other people were on their accounts and what they were doing. In my hidden niche of privacy, sitting silently and spying their on their movements, I never felt so disconnected and lonely, so incorporeal, so imaginary.

Email became electronic mail again which was nice, but the place-likeness of my email account was gone and I became a virtual being.

The First in a daily series of stop motion animations!

http://www.sofyyuditskaya.com/wordpress/

Time Flies When You're Having Fun

I miss you

on the way out this morning one of my roommates was all half awake half asleep and tried to talk to me like you do in your dreams and i was all sad,

I had a dream about us too

we were in central park and it was a sunny day the kind when light falls through the canopy and makes cheetah spots on the ground and

there was a fountain trickling not far away and in the middle of it was a big bronze angel that was baking from the top where the sun hit it, but was cold and rusting in the water

and the sound of water was refreshing even though you cant drink it

and the wallah of people and kids playing was sun spots and trickling brook

we were on trikes, we were 5 years old

i had pigtails

, you had a navy baseball cap on.

we're going down this steep hill on our trikes and screaming happy

and at the bottom of the hill

over the red brick on their back head first

are coming Pierre

that looks very dark and french with a big nose

and this other guy Daniel

who is from Alabama but looks very Scandinavian

like a light nordic version of Pierre with a southern accent

and they're slowly moving out of this dank dark adult world

on their backs on skateboards

pushing themselves along like the human/spider robots from batman

and we crash into them

. they swell like marshmallows in a microwave

and instead of tearing through them or something we just kinda get stuck there

and no one can move and everything's all distorted and stuck sticky settling in the sun

. the sun passes and the cheetah spots disappear

and i think the angel must be very cold now.

then I woke up

My Day Today

Excellent motion graphics, and links to "immodesty" in an way using time that I am compelled to investigate.
Definitley check out a higher res version of the movie if you can, the really beautiful thing about the way the multiple perspective in time was used here is that the perspectives are subtly out of synch and you can see the different heads blinking at different times.
more on the video here if you're curious: obtusity.blogspot.com/2007/04/obscuring-sky-lyapis-trubetskoy-capital.html

Reflecting on Reflection [with apologies for all the is's]

The art object (much like it's creator) is a index [an indicator, sign, or measure of something : exam results may serve as an index of the teacher's effectiveness] of it's timespace environment, an effect of all past causes, an extremity on the evolutionary tree of the universe, so to speak. Beyond that (if there is a beyond that) it is a materialization of the creator's subjectivity. the art object is filtered by the maker's body/mind body relationship, and by it's constituting materials.

All objects are indexes of all other objects, the physical universe becomes the net of semiotics.

So the art object can be a multi-faceted, filtered reflection? But it can't be a reflection in the sense that a reflection is a stable point, a referent against which to compare that which is being reflected. Because the reflection itself is a node in the same network as the things it reflects. So it changes, each time any other node changes.

[In relation to time] Time does not distance the art object from it's index, or congeal the art object's meaning because time affects the index that is the [art] object, historians frame and/or veil the object, something always does (politics, architecture, etc.), so there is no way for the viewer to see the clear reflection of the universe that is the art object.

Even if they could reach that event horizon, there would be no clear, unchanging reflection to find. There would be an index, the art object bearing to the universe the same relationship that clay bears to the hand that just imprinted it. The hand itself is not discernible, but a stray fingerprint, an odd bump or depression in the clay is, indicating the past presence of a hand to the mind that can make out such signs.

Should it be called an Art Subject rather than an Art Object?

Music is like web design,
graphic design is like foucault.

First Day

I'm currently working on my first website at www.yuditskaya.com!