the way that it works is the way that it works so i must admit i have neglected my regular job for too long again in favour of the Cathedral so now i will have to catch up finn & hookedonancially again so i will not bother anyone too much the next week or so and start thinking that i needn’t do anything, nothing is asked of me, so when started i only need to do what my customers are waiting for so i empty myself and into this void i pour down an image that struck me today it will be me for so long because it is you that i longed for for so long and i am one with my desire so now all i can think of is all i can think of is Dana Miller in the Pond

for so long
4 u

gotterdammerung: what was that formula in Dune again? Through my will alone and …

nono. stick to Dana Miller in the Pond



MU # 3

Screenshot of the third MU file - Click to render

The third of what is beginning to look like a series wants you to use your browsers scroll button to interact with the Flash animation. There’s one animation, consisting of about 40 screenshots from files in the Cathedral played in succession at 25 frames a second. I’ve used a free 24 hour trial period of the Browsercam service to generate the screenshots and run them through Flash a couple of times, each ‘Flash run’ consisting of importing the images and exporting them as gif sequences with degrading quality so you can use ‘m for the next run. You can do the same with a Photoshop batch but doing it with Flash is faster…

Next i’ve pasted 63 copies of the anim to make for a nice 64 bit filmic experience you can play around with. You could see the same thing happening here as what was obvious in MU # 2 – one anim lagging behind the other – but here you can actually play around with your hardware’s capability to remain in sync with what you want rendered to the screen. You can actually slow down the animation by moving the copies up-down very quickly.

The fun part is further fictionalised by the story below: The Mu Incident is a short poetic story that’s part of the ever so slowly growing net-novel (nAârt-oldie would be a better term) Anke Veld. Here it becomes a representation of fictional Anke ‘reading’ the Cathedral. The story was written in an hour or so, perhaps i’ll edit it some later but i like it as it is. Particularly the end.

When you click the final link, and then click the girl asking you to do so, you should be hearing François Couperin’s ‘Les Ombres Errantes’ performed by Kenneth Gilbert after a while. Autumn all over.

Circumstantial & conceited, sure. The narrator in the story is a girl, of course.
I think her name will be Dido, keeping up the Virgil quote. I can hear her voice, allready.

Best love story ever written.

Book 4 of the Aeneid, that is.


Mu #2

Mu #2 further expands on the zen koan. This time i’ve gone a a bit into 3d, loading the graphics of the previous version into Maxon’s Cinema 4DXL to build an animation reminiscent of the 9/11 disaster. It’s not very political, though, i just use the event as an illustration of endowing timely constructs with illusions of grandeur and eternal power.

The animation consisting of two flash files comment on the fictional status of our assumptions due to the increasing potential of our hardware. The fastest computer on earth couldn’t render these two anims without loss of speed in one of them, eventually. Moore’s law of increasing processor speed applied a billion times would not change that essentially. It would change it as far as human perception goes, and beyond the limit of a machine’s time of life, but the limit will always be there.

Mistaking the runtime of software for real time is one of the transcoding processes i see in the way human perception of reality is being changed by the allegory of computation. I feel it’s rather dangerous to believe that if you can solve problems in a digitally simulated discrete universe, you can automatically apply those solutions to the real universe. It may work in some clearly isolated cases, but never ‘automatically’. Not even if you build a new kind of science on the assumption that the real universe equals what you make of it.

Ofcourse the universe is what you make of it. But that sentence already contains two steps in time, one towards the fiction of being and one of representation. Both steps take time, changing the place radically.

The looping animations in Mu # 2 are of equal length. One contains the RGB channels of a Cinema 4D rendering, the other the alpha channel of the same file.

Things may be created equal, like we humans are supposed to be (not that anyone holding on to a scrapnel of power acts like we are). But they never last long enough for any being to catch up on them.


Cathedral offline

With all the excitement of moving to a new house, i clean forgot to renew the DNS registration for

It has been renewed now but it will take some time before the account is reactivated.
I humbly apologize for my extreme negligence.

All pictures here are served from as well, so you won’t be seeing those for a while either.

It will be ok within 48 hours.


Christmas Deals @ the Cathedral

– please do not touch items on display-


110 automaton coughs up Final Truth

Either this bad cold of mine is making me hallucinate or here’s the Cathedral manifesting itself allegorically while Katherine Hayles is talking about Wolfram’s cellular automata on one of my screens. In both cases Someone must be having a good time making us suffer.

Yes, it’s all true what women say about men having a cold. But then you don’t know what it’s like to have to think about sex every three minutes, do you?

You can view the entire video stream at Quickly, before you catch it too.


Words and Places

Because of the way that it is being built, the Cathedral isn’t a very user-friendly place. At least not at this moment. People visit it, they are intrigued, wander about the place a bit and mostly leave it in a state near desperation. What is this all about? Where do I start? What do you mean?

The Cathedral is just a word. To me its an important word. Words are places. The new Cathedral of erotic misery is an important place for me.The way the Cathedral is being built is procedural. Its creative principles are those of recursion and garbaging.. You should know that in my view words and terms are places whose definitions are mere co-ordinates.
Places you can add or subtract meaning to, just like to any Cathedral.

Let me try to explain these three particular terms:

@ Procedural:

The Cathedral  is not a collection of art objects. It is a process happening over time. As Central Authoring Process of the Cathedral, it is my job is to provide and manage the code that makes up the Cathedral. Often I am more of a guide than its sole creator.

All code is considered equal. Texts in the Cathedral is textual code. Graphics are graphical code. A scanned drawing is a digitised version of drawing code, pencil drawn lines that want to be significant, like writing. Music is code made audible. Video is the code that starts a time-inclusive simulation process known as video. There can be no strict division between code and data in the Cathedral. In fact, most of our familiar dualistic notions like form-content, mind-body, navigation-content,  fiction-reality,… are very blurred in the Cathedral. That doesn’t make things easy for the user.

@ Recursion & Garbaging:

The Cathedral is something absent and a presence including a Cathedral. That is an example of a recursive definition. Recursive definitions don’t mean zilch outside of time. Recursive definitions need to happen before they mean anything.

Recursion is everywhere. Your computer is full of it: your hard disk is a collection of files and folders (directories) . A folder is a collection of files and folders. That doesn’t mean anything until those files and folders are present. When something is present, it happens. When you start your computer, your files start to happen. When your computer is not running, you can kick it as hard as you can: your files won’t come out. They simply don’t ‘exist’.

The Cathedral is a running compilation of code. According to its configuration, it takes some of the code and interprets it as processing instructions. Other parts it treats as mere data.

At this point, the Cathedral is largely a simulation of what it wants to be. Later, I hope we will be able to see how some code will be garbaged to data and, inversely, how some code-data unities of movement will auto-generate  new code. The Cathedral will get very unpredictable in its use of the bites that are being fed to it, just like we humans are whimsical in our use of the inputs we receive. At times, because of intricate instances of recursion, because some piece of code recursively defines data as data and code,  it will be very hard to decide what is actually happening:

     0: is code being garbaged to data and reused as such or as new code?
     1: is data being promoted to instructional code, or being organised in structured data?

Up till now the building process has largely been one of addition. More code to go into the Cathedral, almost every day. When I add something that seems to me some new process that has started within the Cathedral, I announce it on the Rhizome list. So when you read those announcements there, you shouldn’t interpret them as ‘the author has released a new work entitled thus & thus’. Announcements there are messages that something has happened, a new process has emerged, something that I as an author can identify as being a process. You can talk about processes, but its more difficult than talking about objects.

Processes tend to change while you’re talking about them. Just like the Cathedral is changing now, in fact the Cathedral-Mother is blaiming me harshly for being too explicitely explaining again. “You should be earning some money instead, you nitwit”, she says, “go & make some commercial database front-end somewhere, at least that would earn you some cash”. It’s a predicament, hearing voices like that.

For some obvious reasons, the mere addition of code cannot go on indefinitly. At some point I will need to program something to help me. Get organised. Stop the endless additions and start doing something with them. At some point, I will need to start up the Cathedral, find a way to let it run on its own.

Maybe it will be clearer then. Start speaking for itself. Maybe some day someone will visit the url and see a blank screen. Or a place resembling a  person that says “Hello, my name is Anke Veld. I am the Cathedral. How are you?”.

Who knows what will happen? Who knows what is happening now? These are strange times.


Moving the Cathedral

The wooden statue of the Cathedral in its new surroundings with a buddha and a St.-Hubert deer (missing part of it's crucifix-antlers)

In a few hectic weeks we were very busy moving from our old house to our new home in suburbian Kessel-lo. Security was a heavily debated issue when moving this wooden statue of the Cathedral. It’s estimated value is 3.576.156,00 Euro (or American dollars), at least that’s the price i’m selling it for, having no further need for it. We finally decided on a security scheme combining conventional sensor based apparatus and a dog called Neo (pronounced Dutch: nao), Guardian of the Wood.

Neo, Guardian of the Wood

As you can see, Neo is a very fierce animal. You wouldn’t want to be near him when he’s in attacking mode.

Now that we’ve pretty much settled in, work on the Cathedral’s other transfigurations can be gradually resumed.


Chroniques du Sacrifice

Chroniques du Sacrifice Tamara Lai’s bilingual Sacrifice Chronicles have moved to The Chronicles are the webzine of
sacrifier le Sacrifice sacrificing , her networked project in progress: a poignant artistic view, both in images animation and text, relating to themes of body, relationships and the position of the artist in our society.

Tamara Lai ia a Belgian web-artist active since 1997.


nude footage

potawa_np.jpg: one photograph by Stan Trampe pasted on top of my dental disaster. Click to visit Trampe's website


square nude

1untitled2nonefittingforthe.jpg based on one photograph by Stan Trampe. Click to visit Trampe's website


progressing nudes

3untitled2one.jpg based on two photographs by Stan Trampe


What is NAârt – update

NAârt is how i name my art, my method of artistic research. I seriously believe nAârt, or whatever it needs to be called, is rapidly becoming a new, transvergent discipline.

Not Art+Science (+…), but a folding of art instances in science instances in art in programming instances…
Instances being actualisations of virtualities that have no lack of reality in their own right, from their own position, in their private places.

The term ’transvergence’ has an unfortunate connotation of transcending what has been before, perhaps, indicating some new level above what we know now. I do not believe in levels, because the existence of levels would imply that something can be less real than something else. When something is real, it can be observed in its process of actualisation, and the degrees of clarity in the act of observation are not levels or even degrees of reality of the thing itself but degrees of clarity of the observing process.
There’s a volutile aspect there, in the sense that as monadic human beings we have the free will to perceive what we choose to perceive, we know what we want to know, we continually construct our own fictional account, our own reality, at least that part of reality that we perceive clearly.

Such a statement, however, has nothing to do with any Romantic illusion of creating a beautiful personal world, an escapist flight into an ideosynchretic world of make-believe. We all have a tendency to bend our perceptions into a tunnel-vision, a quasi inescapable spiral inward and art processes have in the past been prone to fly straight into those tunnels. Such artistic dives into the personal and the sentimental may be inspiring, but they annihilate themselves finally, leaving little power of validation for the spectator after the act has been completed.

Any succesful form of artistic research will always strike a balance between the personal as a resource and communication as its purpose. When a nAârt process dives into its fuscum subnegrum, the dark zone of the universe as included in its soul, it does so in search of correlating processes, snapshots of working algorhytms that can shed some light on the case at hand, the thesis that it attempts to falsify or prove. A soul’s history is eternally present as a resource and we are able to manipulate that resource in a continuing, scientific process of actualisation, a methodic unfolding of the reality before us. I think its a big mistake to think that what is fictional has no scientific value. Its more the other way around, as German philosopher Vaihinger once put it : the attempt to do without fiction would be ruinous to science and the whole of human aspirations.

People are places but places are not objects. Places are co-ordinates in the Continuum. Any calculation on a place changes it because calculations take time.

In a way, i came up with the term nAârt because levels and topdown hierarchy and staticly defined objects make me sneeze. They made me sneeze before i read Deleuze, but since i have read him the sneeze has gained some direction, a unity of movement and my allergy has been developing into a methodology.

So, once more: what is nAârt? What can we perceive of it?

Read the rest of it
Introduction to Cathedral Building Theory ; a provisional outline


We ‘re very busy decorating our new home,
so there’s very little Cathedral time ATM.
You can imagine some pictures on tv taking some
of the fun out of building your home.
Or Cathedrals for that matter.


Time is on your site

While i’m all tied up decorating our new home and trying to live up to all the promises i made to some very nice people, the Cathedral and its Residents are getting very jumpy. The Cathedral-Mother is complaining constantly of lack of Coherence, Clarity and Quality in the Cathedral and that i am largely to blame for the horrible fact that- i quote -“It almost looks like a website”.

I tried to get her calm by pointing out that for most of us there are more important things in life like people getting killed in hurricanes and wars and of starvation and all that. That really got her mad – “as if those fictions MATTER” – so i immediately got my orders to “do sth about it, like yesterday”.

She’s gone now, so i very hastily put up a new Quality link to mr Brian Kim Stefans’ work at at the KRISITINE space, pointed out some incredible Coherence in Baudy’s place and tried to bring some Clarity in Lode Kok’s contribution to the Anke Veld NetNovel, the Dutch text at least.

So to Anyone reading this: dear Anyone, would you please leave some comments here or at the Cathedral Blog or where you can, saying how clear, coherent and ‘unlike a website’it all is (pl do NOT write ‘other website’)and that such quality can only come about because it’s a natural process, apparently, making good for the obvious shortcomings of its author who is not too clear in his perception of his own work?

Thanks, you’re a life-saver.



Picture of the Cathedral-Mother space as generated by the new version of the Pluggable Cathedral Universe at the East Gate
It’s still rather dull and simple but at least it looks a bit ‘right’ conceptually now…


Some items of interest in our pointed space

) Recent article in Scientific American on OOP and post-OOP:

A ’traditional’ bridge (?) towards what Jared Tarbell is doing so brilliantly these days: Howard Barnhart at

JT Paasch is getting high Cathedral scores in theology and Flash generic programming at

Paul Prudence at

and seems a good one on tech-design-architecture
and will show you us Europeans calling algorhythmic art ‘evoart’, so perhaps we should all decide on how to generate a sound algorhytm to generate some decent names to call our art (or whatever we’re doing)

(are we? Y/N|

I’m sure it’s all a mundane form of nAârt, ofcourse.

Wish i had the time to show you how the nkdee.xsd schema can be used to populate a website and perform genetic operations in a java web app while maintaining monadic ‘control’ over the process.
I’ll dream it instead…


NKdeE Introduction update

Update to the Starter file at the Cathedral

[Written @ the Cathedral:]

– I’m trying to build a game here, the Cathedral Game. It’s going to take a long time, because i can only work on it in my spare time. The purpose of the Game is very complicated and mysterious as well as utterly simple: you can read about it in the Introduction to Cathedral Building.

– I’m also trying to develop some artistic publishing tools, mainly for publishing literature on the internet. I use my own work to test these things. I’m trying to make this kind of private content management system, because nothing on the market seems to satisfy my needs. I think they might become useful for others too, so i’ll be releasing source code for anyone who’s interested in alternatives to the predominantly object-oriented soft that’s out there. I don’t make any promises though, because time is limited and i wouldn’t know when anthing gets finished

– When you combine both strategies, and add my constant need to write, or mess about artistically, what you get is what you see: a process started in september 2004 and rapidly (?) turning into a field of artistic research. Given sufficient time, the central questions i would like to formulate some answers to with this kind of research would sound like:

What kind of writing will be the result of writing with tools that are co-defined, simultaneously developed, with the writing itself?

In how far will this ‘website’ be writing itself ?

Can you get a process similar to (Semantic) Web Services up and running based on different ontologies than what’s being used now?
Can Software Agents be programmed to behave artistically? Poetically? Ethically?

Is there such a thing as a poetic algorhythm? What would it look like in, say, JAVA?

What happens to text when you put it on a publicly available URL? What happens to poetry? Philosophical texts? What’s all this talk about liquid data?

Untsoweiter. Working with processes in a project of artistic research implies by its very nature that you do not exclude questions, that you are aware that formulating a good question is a very rare event, because such a question implies the possibility of a right or meaningful answer. So, primarily, i hope the questions will get better, in time.

read the rest of it


Digital collage – the case for object disoriented programming

Digital collage
(the case for object disoriented programming) by Colin Beardon

Interesting overview albeit, imho, with some lacking or insufficient conclusions:
– digital collage needs to address the fundamental concepts of computing (OK4dv)
– digital objects need to be disruptive (not_entirely_OK4dv: digital _processes_ need to disrupt conceptual objects)
– “the Digital Bauhaus needs to be dirty!” (certainly_notOK4dv: it’s another rephrasing of the fictional idea that ‘relevant’ information needs to be substracted from chaos or noise and that more noise in the discrete world of objects would lead to an artistical surplus within the information, like applying a series of randomly or carefully chosen filters in photoshop to any image would render it artistically interesting.

In a truly Wittgensteinian sense: that is simply not the case.

In any work of art the noise is the art object, or its perception of being (a series or collection of) object(s). It is always the same mistake of taking snapshots of the flow of a process and then call it ’the digital’. That ‘digital’ object does not exist, although we need it to construct programmatic aid to our way of living.

Text is not a static object and neither is code, because code is text.
Programs run, or they are not. Collage has no need for dirt, neither has ‘digital collage’.

Programmed collage needs to compile, just like Schwitters Merz’ collages were processes that ran until the procedural residue could be succesfully compiled by Kurt’s eye, a very efficient process combining artistic insight, instant technical feasability reporting and a sublimely complete awareness of the actual world he lived in. They are in a true sense timely constructions of which the much valued residual objects are a mere testimony. In that way, Kurt’s original KdeE is and will always remain his most succesfull work of art, although virtually nothing remains of it. It may all have been destroyed but it was a highly significant and speaking moment in history to this day, both within the history of art, within it’s living process of tradition, as it continues to speak to us, as in our history of Kurt’s time, as it continues to speak to us about his time, his particular region of clarity as an artistic monad.

If Object Oriented Programming was the (genial) first move away from the idea of the computer program as a narrative of its execution, we are now making our second move, the one towards allowing the computer to generate its own procedural reality in a human-computer sphere where informational garbage from any procedural reality can become nutritial for other processes: the maximum of information is not defined by the noise/relevance equation but by the next moment’s nutrition value.

Algorithms + data structures + time = human programs.

The programmed collage, if such an idea can be realised, and i think it can, would not be confined to any cheaply Kantian aesthetics, adding an aesthetic surplus for pleasure in contemplation to randomly collected objects. The programmed collage would be a realisation of a generative machinisating kind, in opposition to the mechanic results of all too discrete division in objects and sterile calculations on those divisions. A machine consisting of nothing but machines, a screenfull of interacting processes, a representation performing with a feel for its audience because it’s audience is contained within it as an inescapable auctorial instance. In such machines we need only fear our own fallacies in continually taking the fictional discrete for real.

So if you need slogans: the Digital Bauhaus needs to know itself.



[New]Barok: Studies in Nomadic Information, Nomadic Observations of Beauty

[New]Barok: Studies in Nomadic Information, Nomadic Observations of Beauty

aha: first signs of serious interest in folding matters!