context
Ever since his first work for the fledgeling Factory Records in the late 1970s, PETER SAVILLE has been a pivotal figure in graphic design and style culture. In fashion and art projects as well as in music, his work combines an unerring elegance with a remarkable ability to identify images that epitomise the moment.
When the fly posters for Suede’s new single Film Star were pasted on walls across London in 1997, the languid male sprawled elegantly on the back seat of a Lincoln limousine was instantly recognisable to any graphic design enthusiasts who happened to stroll past. It was Peter Saville, the graphic designer, who had not only art directed the cover of Film Star and the rest of Suede’s Coming Up album, but had posed for the photograph by Nick Knight.
Such a visible manifestation of the designer’s signature was exactly what Brett Anderson, Suede’s lead singer had wanted when he had sought out Saville and asked him to design the artwork for Coming Up. Obsessed as a teenager by Saville’s work in the 1980s for Factory Records’ bands such as Joy Division and New Order, one of Anderson’s treats as an adult indie rock star whose record company was willing to indulge him was to commission Peter Saville to design for his own band. Another of Saville’s clients at the time, Jarvis Cocker, the lead singer of Pulp, had commissioned him for exactly the same reason.
The images that Peter Saville created for Joy Division, New Order and, later, Suede and Pulp were so compelling that they struck the same emotional resonance with the people who bought those albums and singles as the music. Just as the musicians in those bands wrote and produced their songs as catalogues of their thoughts and feelings, so Saville has conceived his images – for fashion and art projects as well as music – as visual narratives of his life.
travelling in web (wikipedia platform)
There are above some links about one journey in one web platform…the journey starts with the word “code”,and then i used the links of the hypertext to find my new window or step.
This journey represents our way of work,and the main concept utilized in the final object for this project (the code,journey- that will be only reveal in the final step (April 15th).
http://en.wikipedia.org/wiki/Code
http://en.wikipedia.org/wiki/Letter
http://en.wikipedia.org/wiki/Internet
http://en.wikipedia.org/wiki/World_Wide_Web
http://en.wikipedia.org/wiki/Multimedia
http://en.wikipedia.org/wiki/Hyperlink
http://en.wikipedia.org/wiki/Interactivity
Users
Users in a computing context refers to one who uses a computer system. Users may need to identify themselves for the purposes of accounting, security, logging and resource management. In order to identify oneself, a user has an account (a user account) and a username , and in most cases also a password (see below). Users employ the user interface to access systems.
Users are also widely characterized as the class of people that uses a system without complete technical expertise required to fully understand the system. In most hacker-related contexts, they are also called lusers or power users. See also End-user (computer science).
Screen names (also called a handle, nickname, or nick on some systems) refer to a public name that can be used to ’screen’ ones true user name from the public eye. Services such as AOL allowed customers to have multiple screen names per user name, and IRC nicks are independent of one’s system account username.
For instance, one can be a user of (and have an account on) a computer system, a computer network and have an e-mail account, an IM account and use one or more nicks on IRC.
In wikipedia(http://en.wikipedia.org/wiki/User_%28computing%29
about code
In communications, a code is a rule for converting a piece of information (for example, a letter, word, or phrase) into another form or representation, not necessarily of the same type. In communications and information processing, encoding is the process by which information from a source is converted into symbols to be communicated. Decoding is the reverse process, converting these code symbols back into information understandable by a receiver.
One reason for coding is to enable communication in places where ordinary spoken or written language is difficult or impossible. For example, a cable code replaces words (e.g., ship or invoice) into shorter words, allowing the same information to be sent with fewer characters, more quickly, and most important, less expensively. Another example is the use of semaphore, where the configuration of flags held by a signaller or the arms of a semaphore tower encodes parts of the message, typically individual letters and numbers. Another person standing a great distance away can interpret the flags and reproduce the words sent.
In the history of cryptography, codes were once common for ensuring the confidentiality of communications, although ciphers are now used instead.
Code can be used for brevity. When telegraph messages were the state of the art in rapid long distance communication, elaborate commercial codes which encoded complete phrases into single words (commonly five-letter groups) were developed, so that telegraphers became conversant with such “words” as BYOXO (”Are you trying to weasel out of our deal?”), LIOUY (”Why do you not answer my question?”), or AYYLU (”Not clearly coded, repeat more clearly.”). Code words were chosen for various reasons: length, pronounce ability, etc. Meanings were chosen to fit perceived needs: commercial negotiations, military terms for military codes, diplomatic terms for diplomatic codes, any and all of the preceding for espionage codes. Codebooks and codebook publishers proliferated, including one run as a front for the American Black Chamber run by Herbert Yardley between WWI and WWII. The purpose of most of these codes was to save on cable costs. The use of data coding for data compression predates the computer era; an early example is the telegraph Morse code where more frequently-used characters have shorter representations. Techniques such as Huffman coding are now used by computer-based algorithms to compress large data files into a more compact form for storage or transmission.
In wikipedia( http://en.wikipedia.org/wiki/Code)
Project
OBRA
“The Traveller”
ABORDAGEM
A abordagem à obra será realizada a partir dos seguintes elementos:
- O domínio REAL e VIRTUAL e dentro de cada um o domínio PÚBLICO e PRIVADO
- As noções de NAO-LINEARIDADE, de LOOP e de PERCURSO / VIAGEM
- A existência de um OBSERVADOR PARTICIPANTE
OBJECTIVOS
Pretende-se a criação de uma instalação/apresentação que proporcione ao observador (único) uma experiência nos domínios publico e privado bem como real e virtual.
Real – projecção que tem como elementos base a pele/corpo (representante do limite publico e privado do espaço real – o interior e exterior) e a tipografia que fornecerá ao observador uma determinada palavra – password.
Virtual – num portátil o observador depara-se com uma caixa de password (fornecida através do vídeo) que após descodificada lhe permite o acesso a um domínio publico (ainda por definir) . A password é um representante conceptual de um dos limites público/privado existente na internet.
PLANIFICAÇÃO DO TRABALHO
1- vídeo e som a projectar
2- website com caixa de password
3- cartaz
4- sinopse
MATERIAIS
1 sala de aula (pav.sul?)
1 mesa
1 cadeira
2 portáteis
1 projector
colunas de som
1 câmera de vídeo (para registo)
Conceptual-tree
Creator
Creator deity, a deity responsible for creating the universe
Creation in media may refer to:
Creation magazine, a magazine promoting creation science published by Creation Ministries International–Australia (formerly Answers in Genesis–Australia).
Creation Books, a British publishing company.
Creation Entertainment, an American company that runs numerous science fiction and fantasy conventions.
The Creation: An Appeal To Save Life on Earth (book), a 2006 book in advocacy of conservation, by biologist Edward O. Wilson.
Nonlinear
In the literature and film, the term nonlinear is used to describe a narrative technique wherein events are portrayed out of chronological order. It is often used to mimic the structure and recall of human memory but has been applied for other reasons as well[citation needed]. Nonlinearity has a slightly different meaning in the context of video games, where it refers to the possibility of narrating different stories depending on the player’s actions in the game.
Literature
Beginning a narrative in medias res (Latin: “into the middle of things”) began in ancient times as an oral tradition and was established as a convention of epic poetry with Homer’s Iliad in the 8th century BC.
The modernist novelists Joseph Conrad, Virginia Woolf, Ford Madox Ford, Marcel Proust, and William Faulkner experimented with narrative chronology and abandoning linear order.
Film
Defining nonlinear structure in film is at times difficult. Films may use extensive flashbacks or flash-forwards within a linear storyline, while nonlinear films often contain linear sequences. Orson Welles’ Citizen Kane (1941), influenced structurally by The Power and the Glory (1933), and Akira Kurosawa’s Rashomon (1950) use a non-chronological flashback narrative that is often labeled nonlinear.
Public
The general body of mankind, or of a nation, state, or community; the people, indefinitely; as, the public; also, a particular body or aggregation of people; as, an author’s public. “public Network” means a network that is regulated as a common carrier.
Privacy is the ability of an individual or group to seclude themselves or information about themselves and thereby reveal themselves selectively. The boundaries and content of what is considered private differs between cultures and individuals, but shares basic common themes. Privacy is sometimes related to anonymity, the wish to remain unnoticed or unidentified in the public realm. When something is private to a person, it usually means there is something within them that is considered inherently special or personally sensitive. The degree to which private information is exposed therefore depends on how the public will receive this information, which differs between places and over time. Privacy can be seen as an aspect of security — one in which trade-offs between the interests of one group and another can become particularly clear.
The right against unsanctioned invasion of privacy by the government, corporations or individuals is part of many countries’ privacy laws, and in some cases, constitutions. Almost all countries have laws which in some way limit privacy; an example of this would be law concerning taxation, which normally require the sharing of information about personal income or earnings. In some countries individual privacy may conflict with freedom of speech laws and some laws may require public disclosure of information which would be considered private in other countries and cultures.
Privacy
To be voluntarily sacrificed, normally in exchange for perceived benefits and very often with specific dangers and losses, although this is a very strategic view of human relationships. Academics who are economists, evolutionary theorists, and research psychologists describe revealing privacy as a ‘voluntary sacrifice’, where sweepstakes or competitions are involved. In the business world, a person may give personal details (often for advertising purposes) in order to enter a gamble of winning a prize. Information which is voluntarily shared and is later stolen or misused can lead to identity theft.
Types of privacy:
The term “privacy” means many things in different contexts. Different people, cultures, and nations have a wide variety of expectations about how much privacy a person is entitled to or what constitutes an invasion of privacy.
Physical:
Physical privacy could be defined as preventing “intrusions into one’s physical space or solitude” This would include such concerns as:
preventing intimate acts or one’s body from being seen by others
preventing unwelcome searching of one’s personal possessions
preventing unauthorized access to one’s home or vehicle
An example of the legal basis for the right to physical privacy would be the US 4th amendment, which guarantees “the right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures”. Most countries have laws regarding tresspassing and property rights also determine the right of physical privacy.
Physical privacy may be a matter of cultural sensitivity, personal dignity, or shyness. There may also be concerns about safety, if for example one has concerns about being the victim of crime or stalking.
Informational:
Data privacy refers to the evolving relationship between technology and the legal right to, or public expectation of privacy in the collection and sharing of data about ones self. Privacy concerns exist wherever uniquely identifiable data relating to a person or persons are collected and stored, in digital form or otherwise. In some cases there concerns refer to how data is collected, stored, and associated. In other cases the issue is who is given access to information. Other issues includes whether an individual has any ownership rights to data about them, and/or the right to view, verify, and challenge that information.
Organizational:
Governments agencies, corporations, and other organizations may desire to keep their activities or secrets from being revealed to other organizations or individuals. Such organizations may implement various security practices in order to prevent this. Organizations may seek legal protection for their secrets. For example, a government administration may be able to invoke executive privilege or declares certain information to be classified, or a corporation might attempt to protect trade secrets.
Lifestyle:
For various reasons, individuals may not wish for personal information such as their religion, sexual orientation, political affiliations, or personal activities to be revealed. This may be to avoid discrimination, personal embarrassment, or damage to one’s professional reputation.
Financial:
Information about a person’s financial transactions, including the amount of assets, positions held in stocks or funds, outstanding debts, and purchases can be sensitive. If criminals gain access to informations such as a person’s account or credit card numbers that person could become the victim of fraud or identity theft. Information about a person’s purchases can reveal a great deal about that person’s history, such as places they have visited, whom they have had contact with, products they use, their activities and habits, or medications they have used. In some cases corporations might wish to use this information to target individuals with marketing customized towards those individual’s personal preferences, something which that person may or may not approve of.
Internet:
The ability to control what information one reveals about oneself over the Internet, and to control who can access that information, has become a growing concern. These concerns include whether email can be stored or read by third parties without consent, or whether third parties can track the web sites someone has visited. Another concern is whether web sites which are visited collect, store, and possibly share personally identifiable information about users.
The advent of various search engines and the use of data mining created a capability for data about individuals to be collected and combined from a wide variety of sources very easily.
Conceptual-tree
History about a traveller/observer that creates a non-linear way between the private and public domain always combined with loop circuits.
traveller:
_Street;
_Public;
_Non-pedestrian public traffic;
_Street layout;
_Highway;
_Road;
_Freeway;
_Multiple lanes of traffic;
_Traffic congestion.
private/public domain:
_Domain name system (DNS) or hostname/url;
_Top-level domain (TLD), VOIP or domain keys;
_WHOIS (protocol which is widely used for querying an official _database in order to determine the owner of a domain name);
_Contracts;
_Patents;
_Trade secrets;
_Copyright;
_Physic/abstract (metaphorical field).
non-linear way:
_Function/chaos;
_Non-linear editing system (NLE);
_Video editing (NLVE);
_Audio editing (NLAE);
_Random access (RAM);
_Postproduction;
_Edit decision list.
loop circuits:
_Electric;
_Voltage;
_Resistance;
_Off-hook;
_On-hook;
_Phase;
_Signal;
_Radio/telecommunications/integrates;
_Circuit;
_Single way.
observer/creator:
_Visual;
_Information graphics;
_Technical writing;
_Writer;
_Fiction/non-fiction;
_Social content;
_Performance art.
Conceptual-tree
Dictionary and Thesaurus (Oxford American Dictionary)
Azul: palavras que se repetem na ramificação.
Traveller Travel journey trip tour ride drive car road future end extremity edge point tip money exchange negotiate discussion talk compromise deal trade-off bargain between two or more alternatives possibility replacement renewal new original fresh mental impression concept belief view thinking theory opinion.
Public Social shared popular general joint common collective widespread famous influential accessible to all available free know published exposed plain obvious crowded whole people citizens community society country nation world everyone audience spectators fans consumers buyers readers viewers listeners.
Private One individual special exclusive independent personal confidential secret reserved solitary hidden isolated alone password to gain admission allows someone access to a computer system.
Loop Curve encircle series end connected to the beginning ring oval spiral curl bend arc twirl twist turn join connect knot non-stop on going always repeated copy again.
Non-Linear Non-sequential random unplanned casual indiscriminate erratic chance accidental arbitrary unsystematic unmethodical lost unexpected isolated single.
Observer Spectator watcher viewer witness reporter beholder user customer operator manipulator mover and shaker client buyer purchaser consumer shopper public.
Creator author writer deviser maker producer originator inventor architect mastermind prime mover designer planner builder representation scheme model sketch outline map plot diagram draft draw aim purpose intent objective goal target hope desire wish dream aspiration ambition think up come up with formulate conceive produce develop.
Percurso (Way) Method process strategy plan system scheme road street course direction track path door gate exit entrance entry space interval journey trip expedition tour voyage cruise ride drive crossing passage flight odyssey.
First idea
PRIMEIRA IDEIA (em contornos muito leves)
- A leitura, audição e interpretação do objecto base.
- A selecção de palavras/frases chave, o seu cruzamento com outras narrativas e a sua exploração através de diferentes medias (das palavras/frases, de conceitos neles presentes e dos momentos de cruzamento).
- A compreensão destes diferentes medias, das suas potencialidades e do melhor meio de os conjugar com vista à representação de uma ideia.
- A criação de diversos objectos (som e/ou vídeo e/ou texto, etc) e o estabelecimento duma rede de ligações.
- A utilização das noções de loop e de nao-linearidade presentes no texto e o seu transporte para o “trabalho final” – um “objecto” que tem um ponto de início e fim coincidente, mas que pode ser percorrido de inúmeros modos, transformando-se numa experiência sempre igual mas sempre diferente.
FORMA
- Loop- Não linearidade
- Paralelismo entre diferentes medias
- Interactividade
CONTEÚDO
- Texto e som inicial
- Novos textos e/ou sons
- Novos objectos
- Palavras/elementos chave (p.e. traveller, password, communicate, places, spaces, codes, time, etc) -> conceitos subjacentes
PARA OS ALUNOS
- Compreensão das diferenças entre os diversos meios
- Exploração de formas de paralelismo entre os diversos meios
PARA OS OBSERVADORES/ESPECTADORES
- O estabelecimento de um percurso
- A criação de uma narrativa pessoal
First idea
____________________
Através da utilização de todos os meios que dispomos hoje-em-dia, analógicos e digitais, virtuais e não virtuais; podemos dizer que o nosso objecto de estudo se destaca como uma variável definida através dos constantes recuos e pré-avanços da reunião dinâmica de que dispõe o grupo.
E é através desta dinâmica de grupo que podemos elaborar o projecto, ou seja, a partir de uma variável onde o conteúdo se processe através da experiência, sempre conjugada com a colaboração; domínio público/privado; individual/grupal; para que este se destaque nos domínios físicos e virtuais, por mais que o produto final (se encontrado) se manifeste em ideias distintas.
Assim sendo, poderemos utilizar o analógico e digital fora dos padrões em que definimos o design/designer. Não é necessário abarcarmos por uma comunicação de massas para o desenvolvermos, ou o tornarmos viável, mas sim através de uma interligação íntima daquilo que são os nossos processos, as nossas associações na criação de objectos e imagens, que no final se destacarão para além da nossa dinâmica interna.
____________________
Through the sources that we have nowadays (analogic, digital; virtual and non-virtual), we can define our meaning of study, like a variable that’s defined through the constant step backs and advances of a dynamic reunion that the group defines.
It’s between that dynamic process that the group can explore the project, through a variable here the content comes from experience, always combined with collaboration; public/private domain; individual/group thoughts, to construct a physic and virtual domain, independently of being (if we found it) an object that can provide distinct ideas.
Therefore, we can use analogic and digital out from there patterns; here we define the design or designer. It’s not necessary to adopt a mass communication, or to make the work visible, but through of an intimate connection of our process, our associations making objects and images, that can be, in the end, external from our internal dynamics.
____________________
Attraverso le fonti che abbiamo oggi (analogici, digitali; virtuale e non virtuale), possiamo definire il nostro senso di studio, come una variabile che è definita attraverso la costante passo spalle e anticipi di una dinamica réunion che il gruppo definisce.
E ‘che tra processo dinamico che il gruppo può esplorare il progetto, per mezzo di una variabile qui il contenuto proviene da esperienze, sempre con la collaborazione; pubblico / privato di dominio; individuale / gruppo di pensieri, per la costruzione di un fisico e virtuale di dominio, indipendentemente Essere (se l’abbiamo trovato) un oggetto che può fornire idee distinte.
Pertanto, si può utilizzare il analogici e digitali uscire di là pattern; qui definire il disegno o designer. Non è necessario adottare una comunicazione di massa, o per rendere visibile il lavoro, ma attraverso di un’intima connessione del nostro processo, le nostre associazioni di oggetti e immagini, che può essere, alla fine, dal nostro interno, esterno dinamiche.
First idea
First idea
A ideia é criar uma nova narrativa a apartir de conteúdos do texto “The Traveller”, cruzados com a letra da música correspondente – “Travel on”. Esta narrativa, para além da ideia de percurso inerente ao tema do texto base, explora o chamado hypertext, na medida em que se constrói saltando de frase em frase, palavra em palavra.
Assim, a narrativa que emerge de uma ligação mais ou menos non-sense representa ‘links’ dos dois textos em questão (possibilidade de adição de outros textos).
Resumindo, o “traveller” salta de palavra em palavra, viaja nos textos base, constrói novos textos de palavras seleccionadas, quase como uma abelha que recolhe o mel de várias flores.
Exemplo:
“1.The traveller turned around” (The Traveller)
“seven thousand million years away” (Travel on)
frase construída: The traveller turned around seven thousand million years away.
(ver imagens)
As imagens, sons e videos surgem de links do texto criado previamente (palavras em destaque, semelhante ao site www.dgm.pt.vu). Imagens escolhidas por relações temáticas, som (audiotexts ou outros), videos e/ou animações a completar o hypertext (hypermedia e multimedia). Poderá ser criado um audiotext com a nova narrativa criada ou sons relacionados com a temática/conteúdo dos textos.
TRAVEL ON
seven thousand million years away from now
seven thousand million years away
it feels like i’m stuck
inside a time machine
voices spinning round
inside my stationary dream
travel on
travel on
travel on, yeah
travel on
strange united forces in my alien world
strange united forces in my alien world
erased all of my memories
left inside my head
destroyed the things
that i got inside
travel on
travel on
travel on
traveller
travel on
travel on
travel on, yeah
travel on
now i am not afraid of your company
i am not afraid of your company
i’m racing with the angels
down the road of time
racing till the end
of the line
travel on
travel on
travel on, yeah
travel on
travel on
travel on
travel on, yeah
travel on
and kneeling we are praying to a neon-cop
we’re praying and they’re praying to their neon-god
my world is shaking
and my walls are closing in
yeah it feels like
they are closing in
yeah it feels like
they are closing in
closing in
closing in
now it feels like they are closing ini’m scanning the horizon through my mirrorshades
i’m scanning the horizon through this pilot mirrorshades
i don’t belong to you and your ambitious life
i don’t belong to you
i’m not your kind
travel on
traveller
travel on
travel on
travel on
travel on
travel on, yeah
travel on
THE TRAVELLER
The traveller turned around and for the first time I saw his eyes. Through the visual contact he could transmit codes that enabled us to communicate. The room in which we found ourselves was medium-sized with only a single desk and an office chair as furnishing. There were neither windows nor doors. There was a laptop on the desk.
“…they exist of places and spaces,” was the meagre message I received from him. That was at the same time the answer to the question I was meaning to ask. The traveller smiled, flapped open the screen of the laptop and turned on the computer.
That moment there seemed to beam megatons of light out of the monitor.
I stared hypnotized into the gleaming white.
4. THE RASTER SCREEN
The raster screen was printed on transparent film and, when the right five sheets were laid upon one another, you could read the password. I only had a single raster film which I put back into my case. And then I saw Alexander (who was totally nervous).
“Come over here – you have to have a look at this! You sure haven’t seen Vienna like this before,” he said and unbuckled. I sat down next to him on the left side of the small passenger plane and we looked through the oval window. I was really impressed!
In front of us you could recognize the skyline of a city in which its chromed skyscrapers flashed in the sun. The city was in the middle of the ocean. Beneath us I saw steel constructions that were anchored on the seabed.
These metal frameworks were constructed by Alexander and on them there were to be apartment houses built more than one thousand meters high.
Alex whispered, “individual spaces with a great view – that is the greatest i’ve ever managed to do – crazy isn’t it? It sure wasn’t easy, but anyway…You only have to find the right places and the right spaces – that is the secret. Super, ain’t it?”
I couldn’t understand at all – he had such a huge project going and I was speechless. Suddenly, I felt sick and my head throbbed. The words “That is the secret” haunted my mind. I felt that I would soon own the next two raster films.
6. THE OUTER WALLS
The outer walls of the plane disappeared all at once and only the plastic floor was left. We came to a stop, stepped next to the plane’s floor and Alex kicked the plastic sheet into its slot at the end of the room. He indicated to the left. “Over there’s the elevator,” he mumbled. We stepped into the small box and I pressed the button with a little arrow. The arrow pointed down.
8. THE ELEVATOR STOPPED
The elevator stopped in the middle of a shopping mall. Alex said goodbye and disappeared into the crowd. I turned around and entered the record store. In this shop there were records that I had been looking for for ages – even a separate “Progrock” rack. I pulled out the first cover, but instead of a record album there was a raster film on the sleeve. I knew it.
After a few minutes, every one of the record racks were checked and I was up two raster films. I put my three films on top of each other and could already recognize fragments of the password. I was incredibly happy.
11. OCEANS ROAR
Ocean’s roar. I put the book aside and went onto the terrace. Patrick stood at the railing and looked at the sea. The beach was always prettiest this time of year. No tourists – only sand, wind and high breakers.
“He must be coming soon now,” said Patrick and a few minutes later Erdem turned up. His long hair fluttered in the wind and I had to think about the “Three- Weather-Taft” hairspray commercial.
He waved and called, “I’m coming right up – should really be pretty wicked today.” We didn’t know exactly what he meant but had the feeling we would find out soon enough. I got cold and went back in.
It was about 12:30 when it got dark.
With breathtaking speed the sun had disappeared beyond the horizon. An unknown malfunction of the solar system had altered the earth’s orbit. Because of that, time didn’t exist as we knew before. Past and future had completely changed their meanings. I was aware that this had to do with a natural catastrophe of inconceivable extent. And that didn’t make me too happy. While staring into the dark, I could hear a faint woman’s voice from afar. And I overheard somebody continually repeating numbers.
13. I LOOKED AT MY WATCH BUT I SAW NO SIGNS…
I looked at my watch but couldn’t discern anything. We sat in the car — the traveller was behind the wheel, I was in the passenger seat — the endless highway before us. It is pitch dark. The traveller turned on the high beam, lit a cigarette and took a deep breath.
I learn new details about the codes. With the password that revealed itself through the raster films, you could reach the home-page of a transmitter whose main purpose was to send out code-numbers.
The traveller let me know that this codes were of grate importance for me and that they would help me to acquaint myself with further stages of my own journey. How these codes were contrived and whoever ordered their transmission would always remain a secret. I am quite disappointed about this fact.
The traveller is tired. We stop in front of a small motel and take two single rooms. In my bathroom I notice that there’s a recognizable pattern on the mirror. I hold my three films up to it and — voilà! — it works. Im only missing a single letter in order to decipher the password. Exhausted, I fall asleep and dream about my cat. She wakes up and tells me that she’s very thirsty. I find this quite cute. She goes to the faucet, turns on the tap and gives me a look. Suddenly I get panicky. She drinks greedily and starts to change herself.
15. IN THE MORNING
In the morning everything seems to be normal. It’s light and I’m alone. I try to get on by hitch-hiking. After a few minutes, a big truck stops. The driver has tattooed forearms and his name is Mario. He tells me about indians and their prophecies: “If buying and selling goods happens under the sign of the bear track, then the enslavement of human beings is not far off.” The bear tracks, he explains, are bar codes. He says every bar code ends with the number 666 ends with the number 666.
That’s why there are no numbers underneath the long lines. You can supposedly even find number codes on dollar bills — strangely arranged and with bad omen. I don’t understand a word. While he speaks, I notice that I have now become a traveller myself. A heavy sorrow weighs on my soul and I’m near tears.
After Mario dropped me off, I stand in front of a tower. Right after the entrance, the elevator awaits me. I enter and push the button with arrow pointing up. On the last floor, the elevator turns into a small room without doors or windows. Places and spaces melt into a new dimension.
My laptop is on the desk and I feel secure. I turn around and I recognize a man. He’s about mid-thirty, unshaven and wears thick glasses. On visual contact I notice the fifth raster in the lenses of his glasses — I now know the password.
Suddenly, I can read him like an open book. His name is Gerhard. He wants to ask me why there are no doors and how he’s ever going to get out of this room. I know I just have to send him on the journey. I turn on the laptop. After Gerhard left, I get on the net and easily acquire the home-page with the help of my password. Number combinations flood me and, for the first time, I begin to understand them. A small window opened at the upper left-hand corner of my screen in which could see Gerhard and Alexander sitting in a plane. Everything’ s going smoothly. it’s my bedtime. I turn off the computer, go to the bedroom and lay down. Lisi’s already asleep. I close my eyes and immediately start dreaming. I receive new codes — loud and clear.
Text.Gerhard Potuznik. Audio narrator.Max Goldt. Audio moods.Florian Hecker + Patrick Pulsinger. in.Potuznik Concorde+.
