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in a datoid wilderness

by philip pocock
on the occasion of the exhibition 'database
imaginary', Walter Phillips Gallery, Banff,
13.11.2004 28-01-2005
On off, up down, in out, here there, then now,
zero one - phenomenological pairs in general
digital space at root level. New media digitally negotiated environments multiply
these binaries to read write, close open.
Phenomena become issues that distinguish
inter-reactive new media CD and DVD
Rom, motion and image sensory
environments from translocal interactive,
database-driven consumer-generated
platforms such as
Inter-reactivity, archival new media, CD and
DVD ROM (ROM, an acronym for ReadOnly-Memory, akin to G.Bush Sr. 'Read-MyLips' quip) obviously divest new media of
interactivity, Read dont write, burned,
closed not open. At best, responsive;
reducing humans to humanoid, sensing
bodies as light switches without qualities, in

German, 'Bewegungsmelderkunst'. Lev

Manovichs Soft Cinema carelessly misses
this base point, coaxing into art and education
arenas, a CNN interactive model of interreactivity cloaked as interactive by
algorithmically-driven, multiple-choice
design, diverting publics-at-large from
developing or understanding the radical shift
new media opens - a collaborative
construction of culture.
In the interest of both language and new
media, it is important that Lev Manovichs
book Language of New Media like his
online text On Totalitarian Interactivity,
have disseminated discombobulated ideas to
art and education even this Database
Imaginary showneglects both language and
new media by not distinguishing between
data and datiods, databases and archives.
Readers are Dorothys who never make it far
enough through the labyrinth of OZ to find
that their role is manipulated by a wizard
pullin their strings from behind a curtain.
Algorithmic multiple-choice menus in
archival CD and DVD ROM media only
create by the sheer number of alternatives an
illusion of interactivity. In fact, like CNN
interactive or Manovichs Soft Cinema, users

react to offers, and do not act on the media at

all. Long ago now, Negroponte characterized
such scenarios as pointlessness and click.
All results are predetermined by the limited
Jacques Derridas 1995 text Mal dArchive
makes the point. Archive stems from Arkh,
government, the archivist, gatekeeper or
governor. Authors of CD and DVD ROM
Read-Only archive media are exactly that and
not as Manovich claims filmmaker Dwiga
Vertov or himself to be, database media
A database is obviously a base for data. A
base is a place dependent on constant fresh
input from external sources for existence or
survival. A moonbase, and Antarctic base,
even a military base is such a location. An
archive, CD or DVD ROM, neither requires
nor allows such access to the source. They
are authored by a gatekeeper and closed, not
A datum, disregarded by the Manovichians,
stems from the word given, which until
orphaned by an archivist is linked to its
dator, its giver. When a datum is

dislocated from its source, unattached,

subjected to governance by an archivist, that
datum is an orphan, a datoid. Datoid is a
digital factoid, the neologisim factoid,
coined by Norman Mailer in his 1973 book
Marylin as: "facts which have no existence
before appearing in a magazine or a
newspaper, creations which are not so much
lies as products to manipulate emotions in the
Silent Majority."
He uttered these strange words: Open,
Sesame! And forthwith appeared a wide
doorway in the face of the rock. [1] With
this login crack, Ali Baba opened and entered
a cavernous cache stocked by 40 thieves.
Open house!
As allegory, Ali Babas cave neighbors
Platos. [2] Both caves depict reality as the
space of collected delusions and illusions.
However, Platos cave acts as metaphor for a
world intent on keeping its subjects in the
dark, imprisoned by a shadowy perception of
the world outside without access to any sunlit
sources. Ali Baba has access to both
appearances and sources, perceptions of data
as currency realized in exchange with the

outside world.
To take both allegories a step further; two
virtual caves or caches, lodged in digital data
space would have Platos cave dweller as
user, spectating and reading in a closed data
space, able to react but not interact in a
meaningful manner. Ali Baba, with open
access to and exchange between storage and
sources, is a performer, a participant in digital
data space. The Plato platform, the base for
new media Modernism, captures its users
desire for transcendence, which passivity
hopes for, with perceptions resembling data
on the surface, and doubtfully so. When the
user transcends, new media Modernism wins
the day, but only the day. In a new media
Modernist scenario, data displaying only their
surfaces are more precisely termed datoids, to
update in an age of digitally networked
environments, Norman Mailers 1973
neologism factoids: "facts which have no
existence before appearing in a magazine or a
newspaper, creations which are not so much
lies as products to manipulate emotions in the
Silent Majority."
Datoids settle in digital media that are
primarily read-only. Datoids are mapped onto

CD- and DVD ROMs (Read-Only-Memory),

published as static HTML pages, directed
with authoring tools such as the Macromedia
Director Lingo mix. To be data in a
networked environment, in post-1990 new
media, datas key quality is an inherently
open source. Digital data, were it material
pigment on a painting surface, would remain
in process at its source, a wet fluid openly
encouraging observant engagement and
participation. Experiences in participation at
source levels defines data inscribed in new
media nowadays, and that supposes reading
and writing. After all, the nomadology of new
media presupposes that humankind is not a
spectator at heart or in mind, but a performer
interacting in a fluid environment. [3] It is
performing and not spectating and
collaborating for consumption, which
explains the survival of our strange species in
a natural world, wherein the only known
constant is eventual extinction.
Datoids identify their users with the devices
they hold mice by permitting them access
only to the secondary, surface attributes of
the data which datoids dubiously resemble.
Just as data which cannot perform are stray
and datoid, humans who cannot realize their

inborn performativity are inter-reactive and

humanoid in character, in touch only with
characteristics of data surfaces. That
searching, sorting, scanning, selecting,
showing, styling and screening datoids ought
to suffice the user as interaction is simply a
swindle. With no source in sight, no sorcery
is possible. Missing datas core attribute,
interaction acts outlandishly as a misnomer
for interreaction. The absence of open
sources chains the user to a role as
consumer/spectator/reader, connecting to and
navigating data surfaces, which systemically
contributes to the ironic conscription of
ontologically open digital data space to
become the ubiquitous representative of geo
space. And in its wake, or even along with its
conscription, globalization becomes the
mindset to resist. The project of globalization
is keyed upon the closure of data sources. As
opposed to post-1990 new medias natural
proclivity toward translocality as paradigm,
globalizations socio-economic
homogenization is abetted by the datoid
mythologizing which adherents to new media
Modernism prop up. Much to the glee of
mass media moguls, their savvy mediology
engineers, and those on The Board, as Bill
Burroughs [4] called conspiring para-

Pentagons on this planet, new media

Modernists share, albeit benignly, an
antipathy to the potential arbitrariness of an
open system, eschewing apparent chaos,
which is in fact a slowly self-organizing
neutral process, Supermodern [5] in its
pursuit of process rather than. New media
Modernist advocates as well as The Boards
most resistant fear is an open system, and a
collaborative paradigm for the unfolding of
cultural objects in a times taking, collective
procession en route to translocal tolerance via
contact and exchange. Closed source datoid
space updates the processing speed of
progress and alienation that already exploded
once in the late Modernist Age, and from
those ashes the digital phoenix, a pterodactyl
perhaps, of data space arose around 1990,
unfolding an array of instinctively
participatory media forms enabling
consensual communication, shared
information and collaborative production
processes, a signpost still up ahead marking a
natural exit point from Modernism once and
for all.
Navigating glowing datoid surfaces of digital
space may stubbornly and spellbindingly
distract and concoct some clever, elegant and

almost always labyrinthine illusion of

interaction. Newfangled datoid illusions
additionally complicate, however
entertainingly, the constant denial of
exchange, which has invariably typified the
Modernist program throughout the twentieth
century, according to architect Bernard
Tschumi.[6] The Modernist paradigm
administers many quarters in new media
circles, applauded by the mass media elite,
looking to renew tired cinema and tv
strategies and tropes, by extending into
digital negotiated environments in the
twenty-first century "the founding principle
of modernism in the twentieth century: the
triumphant annihilation of cultural
memory"[7], which has fueled Modernisms
legendary thirst for progress toward
Wasteland already for a century. There
persists a sizeable, stubbornly vocal and
visible set of new media Modernists
practicing and authoring an aesthetic update
in digital space of Modernisms early
program in the time-based arts of the last
century. In this regard notably, returning to
Russian Formalist narrative theory [8], the
classical syuzhet dimension, plot scenarios,
dislocated from what is now a radically new
fabula or fable, is being thoroughly dissected

by new media Modernists continuing to work

like early filmmakers with read-only
memory, albeit digital memory such as CDand DVD ROM. Syuzhet cannot be unlinked
from its motivating fabula. When they are
divorced, syuzhet permutations are cosmetic,
Mannerist like melodrama, marking only the
surface residuals of reactions. A narratives
fabula, the syuzhets driver, is an imaginary
space belonging not to the plot of a work, but
to its human spectator/reader. In post-1990
new media that spectator/reader is
simultaneously a participant/performer,
which radically rethinks what a fabula is, and
in turn, how it affects any set of associated
syuzhet scenarios which, in meaningfully
interactive space conflates plot with complot.
Formalistic new media Modernism, unrooted
in the current epoch, promotes stylistics over
actual formal concerns, which are invariably
and necessarily rooted in a present cultural
moment, not the past. Read-Only-Memory
surrogates for narrative interaction, despite
their sometimes overwhelming digital effects,
amount to feeble attempts to validate the
undesirable, unthinkable negation of digital
data space as inextricable from the current
translocal network context. Like the limited
efficiency offered by multiple choice testing,

Read-Only-Memory authoring rebuffs even a

modicum of subjective intuition, and
sidetracks the single unique attribute that
technological invention has opened in digital
space since 1990, namely, its openness, from
playing more than a cameo role in the
procession of new media art and
Post-1990 new media does not only require
new technology to be advocated as new. It
requires a radically new aesthetic, and the
emergence of a new paradigm, (from
thingness to isness, perhaps), a participatory
paradigm that encourages experimental forms
of cultural production to emerge, ones that
echo in their embodiments the nucleus of the
new technologies they employ, utterly radical
forms dealing with current situations, that do
not grasp at past Modernist straws for
validation of future trends, thereby, leaving
the present tense out of the new media art
equation. Supermodern data space
development, an aesthetic corollary to post1990 new media technology inventions
intervenes, in concert with the intuitive
identification of and interactive engagement
with the emerging core attributes innate to
new aesthetic technologies, to cause flows of

subjectively affective, translocally turbulent

forms at once through openly dislocated,
neutrally multi-purposed and exquisitely
programmed new media technologies.
New media Modernists turn away from these
signposts in contemporary thought, there are
many [9], concerning openness in media,
access to sources, participation in the
collaborative construction of culture, issues
that percolate a sometimes deserved
skepticism toward new media as representing
just another program of Modernism
throughout the contemporary art world and
the general cultural discourse that debates a
participatory translocalist paradigm over the
inevitability of a globalization which the
absence of open sources in negotiated data
space is capable of speeding along. New
media Modernists view such considerations
as being wholly nave, irrational, even
absurdly Stalinist. [10] Datoid aesthetics,
their spectators distracted by labyrinthine
technicolor displays that simulate
performance by presenting possibilities for
illusionist projection onto the work, but not
into it, are guided by navigation strategies
alone through essentially closed read-only
memories masquerading at times as a

database, when in fact, the data is not open

but burned to CD or DVD ROM. After all,
ROMs are archiving media, not database
media, a crucial distinction new media
Modernists either miss or choose to ignore,
much to the delight of The Board. As an
archive, CD and DVD ROM, all Read-OnlyMemory represent only the sentiment of
anarchy, which Derrida laments in his essay
Mal dArchive [12] to be diametrically
opposite to the archive. An archive can never
be unruly or an-archic, the word archive
stemming from the Greek arkh, rule, the
arkhon, the archivist, impersonating the ruler.
Clever, compelling, at times transcending
works by Read-Only-Memorists dazzle their
publics into retaining the Modernist passive
posture required for the well-known illusion
to work. When the subject, in subjecting
herself to the authority of the author,
transcends, there is a pay off, but a price as
well. Should new media Modernists cultivate
more information users than participants,
information, not the public, will win the
information revolution. [11] New media
Modernists admonish any calculation of
participation with open data sources as
sinking into the arbitrary, spawning irrational
media as a result, and their public agrees,

preferring a digital extension to the

comfortable passive paradigm mass media
has, for the already satisfied, settled them
into. Numb to or passively ignoring their
most basic intuitions as a public, they are
trained to filter, as if it were noise, the
intrinsic embodiments of post-1990 new
media, open systems, that, by design or
happenstance, open Platos Cave, naturally
encouraging shared access to sources in the
artificial sunlight of backlit screens and along
with it, the painstaking potency of selforganizing, probabilistic participation in the
procession of cultural objects and
appearances, immaterial or otherwise.
When data have lost touch with their sources,
they are like orphans, abandoned, soon
forgotten. When found somewhere along the
Infobahn wayside, or eking out a half-life on
some cyburban periphery as datoids, they
may be adopted by surrogates for their
sources and get admitted to databanks, not
bases. Enter, the archivist! A base, however,
implies an architecture that depends on input
to replenish its sources for survival, i.e. an
Antarctic base. A bank is an architecture that
secures more and more sources in order to
succeed in an environment.

In a datoid wilderness, [13]

plays with the Modernist paradigm of new
media, its datoid objects and its inter-reacting
users, all at once, poetically. As a ubiquitous
Internet video, streaming since 10.11.2002,
24-hours-a-day, 7-days-a-week, the Net video
data adopted by Unmovies open video
database have been cut from their native
online sources and stored as anonymous
orphans, video datoids. Acting as surrogate
sources, Unmovie participants caption in
their own words the found video data found
in the Unmovie video database. The
descriptive language attached to each video
influences its chances of being called up by
the script being improvised at the Stage, where dialogue is
scanned for emerging keywords. Should a
keyword from the Stage match a word
describing a Net video culled into and
captioned in the Unmovie video database, its
a match, and the corresponding video is cued
to a play list, soon to be displayed at
Unmovie.nets Stream online. And so it
goes unendingly. Pure time. Existence
time. Open time.
The Stage as well opens the

audience/spectator question in late Modernist

discourse to new interpretations.
Unmovie.nets guests arriving from
anywhere, therwhere, are cast on the
Unmovie Stage alongside five actor-media
personalities, in computer jargon, software or
chat bots, programmed with highly artificial
intelligence to, at stochastically controlled
intervals, avoid conversation and scoot away
to some unoccupied space on the Unmovie
Stage, or alternately to search out a dialogue
partner, then dock, talk and listen. Their
dialogue is converted from text-to-speech,
passing through auditory emotion filters, and
streamed from the Stage as mp3 sound. On
the Stage, guests interact with the bots, like a
bot. There is a difference however. Stage guests have open access
to and affect the bots brains, that is, the text
files that bots draw upon to drive their
dialogue in conversation with other bots or
online human guests. If a guest docks and
talks to a bot or with a conversing group of
bots at Unmovie.nets Stage, that bot or the
group of bots addressed by the guest
interlocutor remember what it was that guest
said, adding that address to their own brain or
brains. Each bot, opening its personality at
the source, is constantly acquiring the input

of fresh words and syntax uttered in dialogue

exchanges by human online guests on Stage.
Fresh input means fresh output; bots drawing
on guest text they have in memory in future
conversations, potentially matching the texts
annotating videos in the database, which stirs
up the playlist pot and results in an ever-fresh Stream.
Datatecture is the compound word Unmovie
fields to signify the algorithmic architecture it
embodies, one foot firmly in virtual space
and the other, more tentatively, in some
public space, a museum, festival hall, and so
on. As fusion of the prefix data and the
midfix architecture, datatecture plans
procedures for Unmovies Stage and Stream
data spaces, in concert with an equally
performative, installative environment. At the
crossroads of cyberspace and geo space,
datatecture is similar in principle to
Supermodern architecture, only in reverse.
While Supermodernism focuses on an
exterior hi-tech aesthetic, datatecture focuses
on a situative aesthetic surrounding hi-tech
informatics. Coined by Philip Pocock in 1996
for colleague Florian Wenz, the term
datatecture digitally updates art approaches
investigated by Beat Generation happenings

and Situationist psychogeographics.

Datatecture oversteps screen surface borders,
intertwining real and virtual traces in the
present tense, sculpting a zone out of the
space between medial and architectural
milieu. Datatecture feels responsible for the
space not only on screens but between
screens, so that data flows may pool but
never terminate, no digital device involved
becoming a mere terminal.
Datatectural net-works such as Unmovie
embrace ruinous motifs of dissolution and
evanescence that deal the mind-body problem
a virtual hand, contesting that there is
correspondingly data-matter leakage in space,
not memetic but provisional and subjective.
These datatectural proposals emerged in 1997
with the Pocock/Wenz/Noll/Huber database
cinema experiment A Description of the
Equator and Some therLands produced by
documenta X. Implied connections between
geo and data space were then strengthened
cyber-cartographically in a collective
program employing a Self-Organizing
Mapping algorithm, hacked and transposed
from its source as the brainchild of Finnish
mathematician Kohonen, by another team

assembled by Pocock, h|u|m|b|o|t incorporated in sync
with a sprawling site in net_condition at
ZKM Karlsruhe in 1999.
Unmovie, therLands, h|u|m|b|o|t,
datatectures all, perform poetically as
dwelling connotes. Each asks ex-audiences to
step across the mass media boundary and
perform, not self-consciously as Modernism
foresaw, but interactively in a net-work
online and on the ground. Some may dare to
hypernarrate as collaborators, co-travelers if
you will, at access nodes in the data space
displayed, or at probabilistic moments within
the data flow participating in and @ real and
virtual public space at once. Unmovie, like
datatecture generally, acts on the premise that
in an age of information, information
becomes valid material for art. And as open
source, information enfolds anyone in its
chaosmos. Aesthetically, datatecture shares a
double, uncanny familiarity with ruins as
imaginary memory containers. Both
datatectures virtual and material components
decompose, with a hyperspeed unknown to
pre-digital histories. Installation materials are
generally chucked after each site-specific
show, only a few souvenirs surviving to be

possibly evidenced in subsequent

installations. Datatecture code and its
malleable data sources are also subject to
rapid change, software aging and
refurbishment, burying certain views and
paths, while chancing alternates.
Unmovie exemplifies datatectures apparent
open end itself. Its nunc fluens, time-imaging
online stream greets its guests invariably in
the middle. Access is also permitted right
down datas middles, straight to and from
their sources. Unmovie, and datatecture for
that matter, are time monads, all middle.
Coming and going does take place, but less
chronologically and more performatively as
existence time naturally presents its
experiences to us. Datatectural notions are
inspirations for architects to locate new time
frames for dwelling, as the informatic facades
realize in Supermodernist architecture.
Datatecture and Supermodern architecture are
corollary, recalling Ur building qualities
underplayed or unbuilt for ages. Literally
coded into the infinitive, to build, at its
source, is the German, bauen, to build, from
which ich bin and du bist, I am and you are
stem tale-tellingly, through the old German
notion of buan, to dwell. Heidegger has

pointed out decades ago that to build is to be.

Datatecture is a space for being a digital
performer. And Unmovie is an instance of
this. Collectively, its data streams its way past
the new media Moderns, weaving around
classical Postmodernist and Modernist
paradigms, even underneath datas accepted
definition as things given, when the Latins
took Euclids treatise titled Data at its very
word, as denoting anonymous associates of
facts, granted and admitted, to locate its
watershed at datas own data source in Vedic
Sulba Sutras, when data meant a double
entendre, binding poetic and perfunctory
qualities of space mnemonically in the
ongoing procession of data. [14]
Compiled by Philip Pocock for

[1] Al Baba and the 40 Thieves, The

Arabian Nights, Sir Burtons trans. 1888 .
[2] Plato, For those imprisoned in the cave
The truth would be literally nothing but the
shadows of the images. The Allegory of the

Cave, The Republic Book VII, 2350 B.C.E., .
[3] "A group of schizophrenics who share
their illusions may get along with each other
pretty well; they are, however, utterly unfit to
react and adapt themselves to real outside
situations, and this is precisely the reason
why they are put into the asylum. Or, in terms
of Plato's simile: the prisoners in the cave do
not see the real things but only their shadows;
but if they are not only looking at the
spectacle, but have to take part in the
performance, the shadows must, in some way,
be representative of the real things. It seems
to be the most serious shortcoming of classic
occidental philosophy, from Plato to
Descartes to Kant, to consider man primarily
as a spectator, as ens cogitens, while, for
biological reasons, he has essentially to be a
performer, an ens agens in the world he is
thrown in."
Ludwig von Bertalanffy, The Relativity of
Categories, in General System Theory, pub.
George Braziller, New York, 1968.
[4] For The Board - The Elite - The Initiates
- Are these the words of the all-powerful
boards and syndicates of the earth? These are

the words of liars cowards collaborators

traitors. Liars who want time for more lies,
Cowards who can not face your "dogs" your
"gooks" your "errand boys" your "human
animals" with the truth. Collaborators with
Insect People with Vegetable People. With
any people anywhere who offer you a body
William S. Burroughs, Nova Express, Grove
Press, 1964.
[5] See Hans Ibelings,
SUPERMODERNISM: Architecture in the
Age of Globalization, NAi, Rotterdam, 1998.
Ibelings defines Supermodernism as a sort
of post-postmodernism, a tech-inspired
aesthetic movement that reacts against heavyhanded, '80s-era pomo and deconstruction,
and adopts the philosophy of computer
product design. Structures appear portable
and therefore disconnected from their
surroundings. As with computers, all the
detail is inside, while exteriors are neutral
and unassuming.
Paul Spinrad, WIRED 9.07, July 2001.
[6] in Louis Martin, Interdisciplinary

Transpositions: Bernard Tschumis

Architectural Theory, in The Anxiety of
Interdisciplinarity, de-,dis-,ex-, 1998.
[7] Benjamin Buchloh, Memory Lessons
and History Tableaux: James Colemans
Archaeology of Spectacle, in James
Coleman, OCTOBER Files, MIT Press, 2003.
[8] Victor Shklovsky, The connection
between devices of Syuzhet construction and
general stylistic devices, 1919.
[9] "What we have to develop is what
sometimes appears under the slightly
ridiculous name 'interactivity': the consumer
responds immediately when he is
interrogated, intervening to ask his own
questions, reorient the discourse, propose
new rules. But all of this is done to such a
feeble degree! It doesn't even come close to
what we would like to see, namely, for
addressees to be able to transform, in their
turn, what reaches them, the 'message,' or to
understand how it is made, and how it is
produced, in order to restart the contract on
different terms. Of course we're never going
to achieve some kind of symmetry or
reciprocity. This mirage, that the addressee

might reappropriate what reaches him, is a

fantasy. But this is no reason to abandon the
addressee to passivity and not to militate for
all forms, summary or sophisticated, of the
right to response, right of selection, right of
interception, and right of intervention. A vast
field is open here. I think, moreover, that this
development will continue inexorably, at a
rhythm that seems incalculable today. Its
taking place, it's happening, this relative
reappropriation is under way."
Jacques Derrida, Topolitics and
Teletechnology, Echographies of Television,
Polity Press, UK, 2002.
[10] In contrast, as a post-communist
subject, I cannot but see Internet as a
communal apartment of Stalin era: no
privacy, everybody spies on everybody else,
always present line for common areas such as
the toilet or the kitchen. Or I can think of it as
a giant garbage site for the information
society, with everybody dumping their used
products of intellectual labor and nobody
cleaning up. Or as a new, Mass Panopticum
(which was already realized in communist
societies) -- complete transparency,
everybody can track everybody else.

(notes from the enemy of the people)
tml 1996
[11] "Information plays on its ineffectiveness
in order to establish its power, its very power
is to be ineffective, and thereby all the more
dangerous. this is why it is necessary to go
beyond information... going beyond
information is achieved on two sides at once,
towards two questions: 'what is the source
and what is the addressee?"
Gilles Deleuze, Cinema 2: The Time-Image,
University of Minnesota Press, 1989.
[12] Jacques Derrida, Mal dArchive: Une
Impression Freudienne, Galilee, Paris, 1995.
[13] 2002
Unmovie is participatory hypermedia
featuring a multi-user flash/python
weblication. Bots (AI personalities) and
online participants find themselves cast as
synthespian actor-media, collaborating as
screenwriting poets on the Unmovie Stage.
Presently, the botcast includes: dogen (13th
C. Zenmaster teaching); nietzsche (Friedrich
Nietzsches Beyond Good and Evil); geisha
(an androgenous cyberlovers' chat transcript),

tark (Andre Tarkovskys Sculpting in Time);

and, dylan (Bob Dylan, his complete song
lyrics). The log of their unending
conversations acts as the Unmovie
hyperscript. While scenes crystallize on
Stage, keywords emerge and query
Unmovies Net-video database to refresh the
playlist driving the Unmovie Stream ongoing
since 10.11.2002.
[14] Here is an actual sutra of spiritual
content, as well as secular mathematical
gopi bhagya madhuvrata srngiso dadhi
sandhiga khala jivita khatava gala hala
The translation is as follows:O Lord
anointed with the yogurt of the milkmaids'
worship (Krishna), O savior of the fallen, O
master of Shiva, please protect me. At the
same time this verse directly yields the
decimal equivalent of pi divided by 10: pi/10
= 0.31415926535897932384626433832792.
by setting a numerical value of 0 through 9
for Sanskrit consonant sets.

(1) CD and DVD ROM can be used as

components in interactive new media.
Knoppix, a Linux bootable CD, is an
example. The software commonly used in
production of CD and DVD ROMs, such as
Macromedia Director, i.e. Soft Cinema by
Lev Manovich, despite claims, is neither
interactive nor database-driven, but interreactive and archival. Manovich Soft
Cinema claims only confuse and control
public, and a labyrinthian illusion of
interactivity is at root Read Only and
-Posted by philippocock to Philip Pocock - Datatectures
at 9/19/2004 11:51:57 PM