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1. The eternal form of the absolute is god. The protean form
of the absolute is art.
2. The network, our new home, is a swamp to which divine
revelry provides the entry. What is the art of networlds?
3. The template for networlds can be found in the experiential
underworld rather than the utopian visionary; in the id rather than
the ego; in the trickster rather than the hero-genius.
4. In networlds, control of self and others, coping, mastery,
clarity, craft and sacrifice are superseded by generosity, abandoning
the facade of self, hacking the code, gratuitous elements, crudity
and frivolity.
5. Pseudonymous role play offers a place to begin. We do
not just imagine and create new worlds, we enact and inhabit, extend
and break them. Creation needs no creator but requires inhabitants.
6. The art is to create structures from which the unforeseen
will emerge and within which uncertainty will flourish.
7. The art of creating government supersedes the art of creating
object.
8. In networlds, no single person creates more than a fraction
of the whole.
9. Networlds are where we go so that we may be characters
in other stories that continue.
10. Pseudo-beings are a different form of life. They do not
die (except temporarily); they are shed, like skins. They are at
once more resilient and more transient.
11. Networlds are episodic, lurching unpredictably between
the familiar and the novel.
12. Networlds are never finished. There is no catharsis.
Thought manifests as action, and thought is continuous.
13. Networlds resist disruption but are sensitive to existence.
They evolve or die.
14. In networlds, vitality is centered in the system rather
than in its members, in the pattern of incarnations rather than
in the incarnations themselves.
15. Immersed and reoriented in networlds, one no longer needs
to make a distinction between you and me and them. It is a polyphony
of shared voices and overlapping actions.
16. The art is a form of conversation, language as performance,
time as medium.
17. Networlds revive the beauty of the particular. Their
art is in their microstructure.
18. The logic of networlds is nonlinear, a continuity of
non sequiturs, interruptions, noise, lag, and displacement, and
a tangle of multiple causality. They are micro-intelligible and
macro-incoherent.
19. Networlds have no goal. Possible ends are buried in an
avalanche of means. The intention is in the whole, but the whole
is built without intention.
20. Networlds are wasteful, overflowing with redundancies,
repetitions, duplications, feedback loops, ripple effects, and rolling
variations. They encourage an art of copies sustained by modularity.
21. Networlds release us from the necessity to generalize
based on a sample of one.
22. Networlds allow us not to have to know who, what, where,
when, or how.
23. Networlds are an activity in which the imaginal displaces
the physical.
24. Networlds resist ownership but require stewardship.
25. Networlds graft the arts of improvisation to the activities
of mind.
Antoinette LaFarge
Irvine
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