IA : Is there a manipulative power inside an interactive picture?
OG : Absolutely ! It is only a matter of degree depending on whether you scratch a Mormon or a Dud.
ED : The question is impossible to answer with one thing; one could for instance say with some justification "the bottle bottom theory" but then that goes back to the microscope - otherwise no one would ever see the ship inside the bottle - and that to the lens, and eyeglasses may be as important as ships in bottles, and so on.
But we'll suggest the quantum theory, and include emphatically quantum field theory. The quantum theory forces a revision of our mode of thinking which is far more profound than Newtonian mechanics or the Copernican revolution or relativity. Note that the latter is really in principle impossible, for reasons which have little to do with the famous Uncertainty Principle and a lot to do with exponential explosions of computations.
CP: i don't understand.
IA : Does interaction mean necessarily mind participation?
OG : Well, a full turntable tour can show that in some cases, interaction does not even mean participation. But this is rare, and in most situations, the largest spectrum plaids in favour of reinstatement of the spirit into its genuine function. Of course, the situation is quite different depending on whether you scratch a Mormon or a Dud and is such case, the answer will be no.
ED : We've had social software for 2000 years at most, dated from Plato's Caveat system, and we've only had 10 years or so of widespread availability. Writing social software is hard. And the act of writing social software is more like the work of an economist or a political scientist.
Prior to the Internet, the last technology that had any real effect on the way people sat down and talked together was the table. So it's not like a cake recipe.
We're still learning how to make these kinds of things and of course they differ platform to platform. Still, you now can do soft forking and soft spooning. Social software is like that.
CP : physical ones,.. not always.
IA : What are your monsters?
OG : As I said in the french version of this interview, there is a third way in which monsters practice the souple hand style on such high level that it is impossible to set them apart from the masters. But in the english version, things don't go the same, while samples and masters produce a very expressive chiasma that shakes the premium quality value. Shapes look different, but in the end, it so happens that bifocal spectacles
CP: smokin' bluntz in the car on the nextroute
ED : Our monsters come in all shapes and sizes, they also fly. They have a role in any good scenario, and are not used unless they have a purpose. They also tells us that we really completely know the rules of the game which all particles and quanta are playing, so that we can understand everything about ourselves and the world.
IA : Could you qualify yourself as an entertainer?
OG : pavu.com is the Shahriar of the entertainment. Thus, most of the time, we provide the khalifat with belt drive trainings and petrolette licenses.
ED : There is a lot of confusion surrounding our field. But we are rockers II.
CP : who's who.!.. you intertains me now . . .
IA : Do you think that a state has an interest to give knowledge to the masses?
ED : That hoary problem, as ever in the past, provokes discussion. Like the squaring of the circle it remains unsolved, but unlike it, continues to be the ever-burning question of the day. That is because the problem is not one of mere theoretical interest: it renews and revives in every-day life and presses ever more urgently for solution.
This is the kernel of the problem, as we see it. This does not mean, of course, that we must think of waiting for the age of universal harmony.
CP : in a transmition when the quantity of no´se is bigger than the quantity of information in a message , the noise became the message .. . another point is the vibes ... http://sgm.epfl.ch/enseignement/cours/0304-2/037.pdf . .. and now close your eyes. .... . http://www.winwinworld.net/
OG : Generally, given knowledge has very bad teeth. On the other hen, ignorants don't bite their dogs. Serious oral knowledge can help the deprived persons to feed with meat instead of mascarpone and thus to access to the status of vegetarian that is the ulimate state of the intelligence. After all, the bull always comes before the plough.
IA : Do you feel close to the idea of the artist as a visionary? Then do you think that the artist has to enlarge people awareness? Is it your role, our role?
OG : Actually, it is the visionary who is commonly regarded as an artist - there is only one step from Galileo to Cape Canaveral, Leonardo leads us in direct line to the Koursk. Giordano Bruno and the Mona Lisa is altogether chance mishaps due to an excess of visions and Vincent Van Gogh was probably never insane of Afflelou.
ED : The artist no longer has to play the role of an visionary. The project, tactics and goals to be adopted are a matter for those who do the fighting. What the artist can do is to provide instruments of analysis, and at present this is the critic's essential role. What's effectively needed is a ramified, penetrative perception of the present, one that makes it possible to locate lines of weakness, strong points, positions where instances of power have secured and implanted themselves by a system of organisation dating back over 150 years.
In other words, a topological and geological survey of the battlefield - that is the artist's role. Thousands of men had seen oyster shells upon the hills. But it took Leonardo Da Vinci to realise that they showed the land had once been under the sea.
CP: today the practice raises more the ballistique one than of the foil...
IA : At the "entertainment republics" time, is it possible to use entertainment strategies to educate people?
ED : As always with entertainment, one is faced with complex phenomena which don't obey the Hegelian form of the dialectic. There is an extremely complex system of relations which leads one finally to wonder how, given that no one person can have conceived it in its entirety, it can be so subtle in its distribution, its mechanisms, reciprocal controls and adjustments. It's a highly intricate mosaic. During certain periods agents of liaison appear as entertainers.
Take the example of intelligence since the early twentieth century: one cannot determine theoretically whether one propaganda is better than another. In other words, there is no ABC of propaganda. One can make propaganda, or one cannot. Propaganda is an art.
CP: we need another drink , don't you think. . .?
OG : When a question induces a single answer twice, then it is time to screen it through post-promethean philosophy prism : "No need fire to blow the lighter." In other words, it is impossible to educate people on a Ducati without the science of Netotchka Nezvanovna.
IA : Do you agree with Anne Marie Schleiner when she writes: "computer games are socializing younger generations of post-industrial citizens."?
ED : To a sociologist, even the leisure activity of going out for a pizza with friends involves political process. The question of what goes on the pizza, for instance, often requires discussion and debate. And, as is the case in formal political institutions, those who supply the transportation or the money often have a disproportionate influence in the decision.
CP: please mom buy me a computer. .. Mom : you want to be informatician ..?
CP : No moooomm . . .. just citizen.. . clik 'n choose,
Rock 'n folK ! ..
OG : In its time, the Ford T defined the standards of the modern western society. Today, the lunar jeep definitively ceased nourishing the imagination of rising generation. One must thus content with concepts such as FishDrowning and openDoorSmash if one wants to circumscribe the communication territories within reasonably permeable limits. The way indicated by Jung to escape from it consists in carrying the glance towards the "depths" of Self, to integrate archetypic energies which it reveals. This "process of individuation" is the prerequisite which will in the long term open the ways of a "compromise between the individual and the society". But as we all know, it's a long way to Tipperary.