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UNFINISHED DRAFT DRAFT DRAFT DRAFT DRAFT DRAFT DRAFT DRAFT!!!Starting - The Location of This Author
Launching a project about
the author 
, it is very hard to dismiss the fact that theauthor I know best is myself. From a Freudian point of view this statement might besomewhat harsh, but in an another viewpoint it seems like a mechanistic notion thatyou can know something better by studying it than by experiencing it, but this isgenerally the way enlightenment science works. Human Research animals areviewed as sensory beings, storing information in our rational minds bouncing thisinformation back to the world as a set of structured facts. The human researchanimal is realized as a world mediator working pretty much like a virtual Javamachine which takes instructions from the application and translates it to a formunderstandable for the operative system. In this way you can run the same Javaenabled application independent from the operative system. I does not matter if youare using Windows, Linux, Mac OS X or another Java mediated OS. The point is thatthe application can only perform instructions native to the Java translator. But thereis one more factor, the Java mediator is located in time, or version. An applicationbuilt for version 3 of Java might not work on version 2. The Java translator hasdeveloped, and the old translator does not understand instructions build for this newone. This is a very linear and mechanistic world, and when the digital mechanics fail,there is some sort of breakdown. Within a person, there are constant breakdowns inour rational understanding of the world. We have learned to live with differentversions of our world translator. We do not have any other choice. That is the humansituation in a nutshell.Being an author is about having a location, so I am going to leave the concept'author' in the closet for a while and talk about my location as an author, whichprobably say something about what an author is from a conceptual viewpoint.
 
What is in front of the maleish figure in Caspar David Freidrish painting, what isbehind of it and what is above? A teenager today could easily think this picture ispicked from some of those fantasy works crowding the library shelves under thecategory "Science Fiction & Fantasy". In that case it would have been either animage copy from a frame in an animated movie, or an stand alone imagerepresentation of a movie or a book. If it had been a representation from a book, itcould be called a trance-media representation from the text narrative. The textwould have the location based on the author and the context the author worked andlived in. This text would have been given to the illustrator who made a visualrepresentation, or simulation. It is likely that the illustrator picked the scene toportrait as a result of reading and reacting to the text. The illustrator
merged 
withthe text, almost like when you merge two complex objects in Adobe Illustrator,though this illustrator would not have used a vector based tool like Adobe Illustrator,but rather a pixel based tool like Adobe Photoshop or Corel Painter. A vector basedimage has the location in mathematical algorithms while pixel based images areatomistic in the sense that each area is reducible to a atomic element, the smallestelement in the picture. That element is called a pixel. As we know from real life,mathematics is not that great to pick up all the beautiful and scary shadingsconstantly entangled in our lives. A pixel based digital brush is more realistic as it iseasier to create tonally complex works as in
the Wanderer 
above. By now I hope youunderstand that this author regard Technoscience research as pixel based ratherthan vectorized. It is extended in time and space and cannot be parceled like avector image or a zip-file. It is my intention to produce raster based research withoutunnecessary posterization effects in the final work.Let us say we continue our cyborgian journey between fact and fiction and pick upwhere the author created a text based on her life world, an illustrator got the task to
 
illustrate the text and then we have the teenager surfing the Internet and stumbleacross this image thinking it has to be an illustration from some cool fantasy book.She download it to her hard disk and upload it to her Facebook profile, using it as anavatar, a representation of her digital self. This process could be separated intothree conceptual dimensions, like three Photoshop-layers on top of each other, semi-transparent, semi-accessible. Let us say the bottom layer is the background layercreated by an anonymous Greek artist during the
Golden Age
1
. The middle layer, onthe other hand, is created in the beginning of the 19th century, in the peak of themindset we generally call romanticism. So now we a text created in the Golden Age,recreated in a different communication medium in another mindset. Theoristsconstantly argue how much transparence we can obtain in layers like our middlelayer. Most theorists agree there are some kind of semi-transparency, even if thetransparence has been reduced increasingly by an agency sometimes tagged asculture relativism. The most of this transparency reduction have been done after theromantic period. This layer was created after Kant, which means a conception of thetheory that we do not have a direct to the world. We only have a direct relation tothe representations in our mind - I cannot help myself picturing this representationalsphere as a bowl of goldfishes. But the middle layer is before the postmodern viewof epochs as more or less opaque layers with their own ontology, epistemology andethics. So the location of this illustrator would lend her to see some transparency inthe layer but not complete visibility, because this would not have been obtainableeven if the illustrator had studied her own picture in the mirror. The situation wouldprobably have been similar to using the Wacom board pen on a Photoshop-layer with20% transparence and trace the emerging shapes with a soft pen.
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