Difference between revisions of "Promiscuous browser"
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Context | Context | ||
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| − | This README text accompanies the Promiscuous browser, the third iteration of the New fire ceremony, an ongoing research about museum digital catalogs, | + | This README text accompanies the Promiscuous browser, the third iteration of the New fire ceremony, |
| − | and possible desirable alternatives to their current form. The research points at the historical issues in the current model that regard the policies of | + | an ongoing research about museum digital catalogs, and possible desirable alternatives to their |
| − | knowledge administration: the colonial heritage, the imperial intentions, the gendering models, the hierachical values... Starting from the observation | + | current form. The research points at the historical issues in the current model that regard the |
| − | of the online catalog of the Art and History Museum of Brussels, these issues were approached in relation to a set of questions: | + | policies of knowledge administration: the colonial heritage, the imperial intentions, the gendering |
| + | models, the hierachical values... Starting from the observation of the online catalog of the Art | ||
| + | and History Museum of Brussels, these issues were approached in relation to a set of questions: | ||
-How do organizational models inform the meaning of the data they structure? | -How do organizational models inform the meaning of the data they structure? | ||
| − | -How to highlight the ideological principles on the basis of which the politics of data modelling are chosen? | + | -How to highlight the ideological principles on the basis of which the politics of data modelling |
| − | -Why is it important for information systems to offer the possibility to negotiate its organisational models with other entities? | + | are chosen? |
| − | -What is the semantic link in place between the patterns of graphical representation and the models for structuring data? | + | -Why is it important for information systems to offer the possibility to negotiate its |
| − | -Is it possible to sensibly question the ideologies inherent to models by producing strange and crooked graphical representations? | + | organisational models with other entities? |
| − | And on what other form of thinking should these crooked graphics be based on? | + | -What is the semantic link in place between the patterns of graphical representation and the models |
| + | for structuring data? | ||
| + | -Is it possible to sensibly question the ideologies inherent to models by producing strange and | ||
| + | crooked graphical representations? And on what other form of thinking should these crooked graphics | ||
| + | be based on? | ||
| − | The first step in dealing with these questions consisted of a speculative narrative that does not try to answer them, but to make them more sensitive. | + | The first step in dealing with these questions consisted of a speculative narrative that does not |
| − | The story enacts and illustrates a dispute between two goddesses. The first is Carmentis, the Roman goddess associated with technological innovation, | + | try to answer them, but to make them more sensitive. The story enacts and illustrates a dispute |
| − | who lends her name to the digital catalog of the MRAH Museum. The second is portrayed in the collection object AAM 00071.1, Tzitzimime (or Xochiquetzal), | + | between two goddesses. The first is Carmentis, the Roman goddess associated with technological |
| − | the Aztec goddess that every 52 years threatens the world with destruction, unless humans renew their knowledge during the New Fire Ceremony. The first | + | innovation, who lends her name to the digital catalog of the MRAH Museum. The second is portrayed |
| − | approach to the catalog took the form of a graphical reintepretation of the collection, illustrating with collages a critical point of view of the | + | in the collection object AAM 00071.1, Tzitzimime (or Xochiquetzal), the Aztec goddess that every |
| − | ideological base of the museum as a system. The current version of this research, continues with an attempt to detour the normal browser interaction with | + | 52 years threatens the world with destruction, unless humans renew their knowledge during the New |
| − | the Carmentis on-line catalog, not without some (desired) experimental troubles. | + | Fire Ceremony. The first approach to the catalog took the form of a graphical reintepretation of |
| − | Notice that this proposal is not meant to overhaul the story and the meaning of museum objects. What it tries to do instead is to open or sink some of the | + | the collection, illustrating with collages a critical point of view of the ideological base of the |
| − | restrictions that stop the visitors from imagining different relations to "the collection". It wishes for a critical stance towards the objectivity and | + | museum as a system. The current version of this research, continues with an attempt to detour the |
| − | neutrality that are implied by the structures that host the meaning and the story of the museum pieces. | + | normal browser interaction with the Carmentis on-line catalog, not without some (desired) |
| + | experimental troubles. | ||
| + | |||
| + | Notice that this proposal is not meant to overhaul the story and the meaning of museum objects. | ||
| + | What it tries to do instead is to open or sink some of the restrictions that stop the visitors from | ||
| + | imagining different relations to "the collection". It wishes for a critical stance towards the | ||
| + | objectivity and neutrality that are implied by the structures that host the meaning and the story | ||
| + | of the museum pieces. | ||
| Line 34: | Line 51: | ||
----------- | ----------- | ||
| − | The Promiscuous Browser builds a cross-eyed relation between the narratives (of origin, authenticity, fathership, power demonstration...) embedded | + | The Promiscuous Browser builds a cross-eyed relation between the narratives (of origin, |
| − | in the knowledge production model of the museum's database and catalog, and the informational structures of hypertext language and internet browsers. | + | authenticity, fathership, power demonstration...) embedded in the knowledge production model |
| − | The browser is designed to give visitors an opportunity to sense the relations between the objects' specific stories and the categorical narratives | + | of the museum's database and catalog, and the informational structures of hypertext language |
| − | they are set into. It enhances and explores the ambiguity of data structuring processes and questions the way versions and conflicts transpose the | + | and internet browsers. The browser is designed to give visitors an opportunity to sense |
| − | colonial history of the museum to digital infrastructures. | + | the relations between the objects' specific stories and the categorical narratives they are |
| + | set into. It enhances and explores the ambiguity of data structuring processes and questions | ||
| + | the way versions and conflicts transpose the colonial history of the museum to digital | ||
| + | infrastructures. | ||
| − | Insofar as direct access to the catalog's structure and database is not permitted, we take the webpages through which the catalog is experienced in | + | Insofar as direct access to the catalog's structure and database is not permitted, we take |
| − | the browser as a simulation of data structuring categories. In particular, we use the DOM (Document Object Model) elements that constitute a webpage, | + | the webpages through which the catalog is experienced in the browser as a simulation |
| − | and their graphical characteristics ( borders, colors, margins, fonts, orientations,...). Thanks to a script that modifies the DOM elements and | + | of data structuring categories. In particular, we use the DOM (Document Object Model) |
| − | displays the page according to a set of rules, the promiscuous browser performs the amalgamation of the metadata categories of the DOM with data-based | + | elements that constitute a webpage, and their graphical characteristics ( borders, colors, |
| − | categories of the catalog. Hence, it destabilizes the normalized relation between collected object (data), collecting subproducts (metadata) and the | + | margins, fonts, orientations,...). Thanks to a script that modifies the DOM elements and |
| − | hosting structure of the database, disobeying one fundamental rule of the economy of computing: the separation of instructions and data. | + | displays the page according to a set of rules, the promiscuous browser performs the amalgamation |
| + | of the metadata categories of the DOM with data-based categories of the catalog. | ||
| + | Hence, it destabilizes the normalized relation between collected object (data), collecting | ||
| + | subproducts (metadata) and the hosting structure of the database, disobeying one fundamental | ||
| + | rule of the economy of computing: the separation of instructions and data. | ||
| − | In the promiscuous browser milieu each object potentially takes hold of the whole catalog structure, according to its contents, performing the display | + | In the promiscuous browser milieu each object potentially takes hold of the whole catalog structure, |
| − | of the web page, re-structuring knowledge and stories in a graphical sense. As another form of promiscuity and of disregard of normal security limitations | + | according to its contents, performing the display of the web page, re-structuring knowledge |
| − | of individual browsers, the promiscuous browser allows several visitors to find each other on the very same page, sharing mouse and keyboard, opening up | + | and stories in a graphical sense. As another form of promiscuity and of disregard of normal |
| − | the knowledge process to a wild range of sensibilities. | + | security limitations of individual browsers, the promiscuous browser allows several visitors |
| + | to find each other on the very same page, sharing mouse and keyboard, | ||
| + | opening up the knowledge process to a wild range of sensibilities. | ||
| Line 74: | Line 100: | ||
BC | BC | ||
| − | To distribute the stories from a catalog is not only matter of literary writing. You can find some 'human' readable descriptions sometimes... | + | To distribute the stories from a catalog is not only matter of literary writing. |
| − | But the traces of the stories in the collection are scattered in the details-inputs of database tables, formulated, and formatted into labels and values. | + | You can find some 'human' readable descriptions sometimes... But the traces of |
| + | the stories in the collection are scattered in the details-inputs of database | ||
| + | tables, formulated, and formatted into labels and values. | ||
With few words in lists, inside tables, within pages... | With few words in lists, inside tables, within pages... | ||
| − | We shall notice that those few words and their table-oriented displays refer to standard forms of labelling that we implicitly know. | + | We shall notice that those few words and their table-oriented displays refer to |
| + | standard forms of labelling that we implicitly know. | ||
Date. Place. Owner. Name. Dimension... similar to an ID card... | Date. Place. Owner. Name. Dimension... similar to an ID card... | ||
| − | Imagination is meant to work through this categorization towards the pages, within the tables, among the lists of words... | + | Imagination is meant to work through this categorization towards the pages, |
| + | within the tables, among the lists of words... | ||
| − | Different forms of ordering coexist in the catalog with their own rationality and contradictions... Some of them refer to object properties and others to | + | Different forms of ordering coexist in the catalog with their own rationality |
| + | and contradictions... Some of them refer to object properties and others to | ||
the object at the level of collection and classification. | the object at the level of collection and classification. | ||
| Line 127: | Line 158: | ||
| − | This type of display, seemingly data-based and scientifically constructed, comes with its own type of story telling. | + | This type of display, seemingly data-based and scientifically constructed, |
| − | This story telling makes sense for us and builds upon discrete measures and classification systems to tell us about the objects' stories. | + | comes with its own type of story telling. |
| − | An embedded narrative corresponding to the scale of values that the western imaginary has in its experience. | + | This story telling makes sense for us and builds upon discrete measures |
| − | The storytelling/display proposes a rationality which is limited to 'civilized/civic' affinities and the interoperability of standards. | + | and classification systems to tell us about the objects' stories. |
| − | Nevertheless it "makes sense" - it structures sense - despite of the arbitrary aspect of the relations which were socially and politically settled as rational. | + | An embedded narrative corresponding to the scale of values that the western |
| + | imaginary has in its experience. | ||
| + | The storytelling/display proposes a rationality which is limited to | ||
| + | 'civilized/civic' affinities and the interoperability of standards. | ||
| + | Nevertheless it "makes sense" - it structures sense - despite of the | ||
| + | arbitrary aspect of the relations which were socially and politically | ||
| + | settled as rational. | ||
| Line 147: | Line 184: | ||
| __________|__________ | | | _____________________ | | | | | __________|__________ | | | _____________________ | | | | ||
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | ||
| − | + | | | | | | content (Inv. Nr.) | | | | | |
| | | | ||
______|___________________________________ Object names | ______|___________________________________ Object names | ||
| Line 186: | Line 223: | ||
------------------------------------------- | ------------------------------------------- | ||
| − | The object-centered catalog expands and entangles the different sets of arbitrary connections at work in our browser, arbitrarily connecting two different | + | The object-centered catalog expands and entangles the different sets of arbitrary connections at work |
| − | forms of classification and data structure. A script added to the browser emphasizes the proximity of rulesets by processing the relations between the object's | + | in our browser, arbitrarily connecting two different forms of classification and data structure. |
| − | labels and DOM elements. In this way we would like to enable the visitor to sense the implications of categorical narratives for the knowlegde/story of the | + | A script added to the browser emphasizes the proximity of rulesets by processing the relations between |
| − | objects by modifying the graphical representation of the catalog according to the object's characteristics. | + | the object's labels and DOM elements. In this way we would like to enable the visitor to sense the |
| + | implications of categorical narratives for the knowlegde/story of the objects by modifying the graphical | ||
| + | representation of the catalog according to the object's characteristics. | ||
| − | We share our own rationality-narrative to build sense from the relations that are promiscuous in the frameworks of the catalog display, promiscuous but not | + | We share our own rationality-narrative to build sense from the relations that are promiscuous in the |
| − | reciprocating... Not yet. | + | frameworks of the catalog display, promiscuous but not reciprocating... Not yet. |
| − | A piece of the museum takes hold of the catalog by ruling the DOM/css elements of the webpage according to its classical properties. | + | A piece of the museum takes hold of the catalog by ruling the DOM/css elements of the webpage |
| + | according to its classical properties. | ||
| − | The illustration shows possible ways to connect DOM and CSS variables with an object's properties and its position in the catalog's taxonomy. | + | The illustration shows possible ways to connect DOM and CSS variables with an object's properties |
| + | and its position in the catalog's taxonomy. | ||
____________________________________________________________________________________________________________________________________________________________ | ____________________________________________________________________________________________________________________________________________________________ | ||
| Line 352: | Line 393: | ||
to | | one's own individual browser individuale, navigateur | to | | one's own individual browser individuale, navigateur | ||
spin |__________________| browser, individuel, | spin |__________________| browser, individuel, | ||
| − | + | around | |
| − | + | the | |
authority #172.18.169.1 #179.16.154.1 #172.16.224.1 #172.16.254.1 | authority #172.18.169.1 #179.16.154.1 #172.16.224.1 #172.16.254.1 | ||
issue, A modification of A modification of A modification of A modification of | issue, A modification of A modification of A modification of A modification of | ||
| Line 419: | Line 460: | ||
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Revision as of 11:00, 13 November 2020
A promiscuous browser : curatorial proposal for a digital catalogue by AAM 00071.1
Zoumana Meïté, Martino Morandi
Context
-------
This README text accompanies the Promiscuous browser, the third iteration of the New fire ceremony,
an ongoing research about museum digital catalogs, and possible desirable alternatives to their
current form. The research points at the historical issues in the current model that regard the
policies of knowledge administration: the colonial heritage, the imperial intentions, the gendering
models, the hierachical values... Starting from the observation of the online catalog of the Art
and History Museum of Brussels, these issues were approached in relation to a set of questions:
-How do organizational models inform the meaning of the data they structure?
-How to highlight the ideological principles on the basis of which the politics of data modelling
are chosen?
-Why is it important for information systems to offer the possibility to negotiate its
organisational models with other entities?
-What is the semantic link in place between the patterns of graphical representation and the models
for structuring data?
-Is it possible to sensibly question the ideologies inherent to models by producing strange and
crooked graphical representations? And on what other form of thinking should these crooked graphics
be based on?
The first step in dealing with these questions consisted of a speculative narrative that does not
try to answer them, but to make them more sensitive. The story enacts and illustrates a dispute
between two goddesses. The first is Carmentis, the Roman goddess associated with technological
innovation, who lends her name to the digital catalog of the MRAH Museum. The second is portrayed
in the collection object AAM 00071.1, Tzitzimime (or Xochiquetzal), the Aztec goddess that every
52 years threatens the world with destruction, unless humans renew their knowledge during the New
Fire Ceremony. The first approach to the catalog took the form of a graphical reintepretation of
the collection, illustrating with collages a critical point of view of the ideological base of the
museum as a system. The current version of this research, continues with an attempt to detour the
normal browser interaction with the Carmentis on-line catalog, not without some (desired)
experimental troubles.
Notice that this proposal is not meant to overhaul the story and the meaning of museum objects.
What it tries to do instead is to open or sink some of the restrictions that stop the visitors from
imagining different relations to "the collection". It wishes for a critical stance towards the
objectivity and neutrality that are implied by the structures that host the meaning and the story
of the museum pieces.
Description
-----------
The Promiscuous Browser builds a cross-eyed relation between the narratives (of origin,
authenticity, fathership, power demonstration...) embedded in the knowledge production model
of the museum's database and catalog, and the informational structures of hypertext language
and internet browsers. The browser is designed to give visitors an opportunity to sense
the relations between the objects' specific stories and the categorical narratives they are
set into. It enhances and explores the ambiguity of data structuring processes and questions
the way versions and conflicts transpose the colonial history of the museum to digital
infrastructures.
Insofar as direct access to the catalog's structure and database is not permitted, we take
the webpages through which the catalog is experienced in the browser as a simulation
of data structuring categories. In particular, we use the DOM (Document Object Model)
elements that constitute a webpage, and their graphical characteristics ( borders, colors,
margins, fonts, orientations,...). Thanks to a script that modifies the DOM elements and
displays the page according to a set of rules, the promiscuous browser performs the amalgamation
of the metadata categories of the DOM with data-based categories of the catalog.
Hence, it destabilizes the normalized relation between collected object (data), collecting
subproducts (metadata) and the hosting structure of the database, disobeying one fundamental
rule of the economy of computing: the separation of instructions and data.
In the promiscuous browser milieu each object potentially takes hold of the whole catalog structure,
according to its contents, performing the display of the web page, re-structuring knowledge
and stories in a graphical sense. As another form of promiscuity and of disregard of normal
security limitations of individual browsers, the promiscuous browser allows several visitors
to find each other on the very same page, sharing mouse and keyboard,
opening up the knowledge process to a wild range of sensibilities.
Data structuring models and narrative interoperability
------------------------------------------------------
Dating ('AAM00071.1') Culture Dimensions
AD ^ A _ | _ Y |
/|\ _ | _ | Z
_ | _ _ | _> Gulf coast >________ | /
_ | _ _ | _ | _'AAM00039.257' | /
_ | _AD 900 _ | _ | _'AAM00071.1' | /
_ | _ _ | _ | /
_ | _AD 600 _ | _ | /
_ | _ _ | _ | /
_ | _ _ | _ | /
_ | _ _ | _ |/____________________
_ | _ _ | _ X
_ | _ _ | _
_ | _ Z _ | _ ...
BC
To distribute the stories from a catalog is not only matter of literary writing.
You can find some 'human' readable descriptions sometimes... But the traces of
the stories in the collection are scattered in the details-inputs of database
tables, formulated, and formatted into labels and values.
With few words in lists, inside tables, within pages...
We shall notice that those few words and their table-oriented displays refer to
standard forms of labelling that we implicitly know.
Date. Place. Owner. Name. Dimension... similar to an ID card...
Imagination is meant to work through this categorization towards the pages,
within the tables, among the lists of words...
Different forms of ordering coexist in the catalog with their own rationality
and contradictions... Some of them refer to object properties and others to
the object at the level of collection and classification.
Object properties
____________________________________________________________________________________________________________________________________________________
| ( Dating, culture, place, object name, material and technique define | | | |
| another way of organizing the collection apart from classification...) | | | |
| | | | |
| | | | |
| Dating /A-Z//0-9/ > > > | > | > > > |''''|''''|''''|''''|''''|
| | | | [ ] |
| Culture /A-Z/ > > > | > | > > > |''''''''''''''''''''''''|
| | | | ^ |
| | (Dimensions | |
| | adds some extensive properties of the object
| | | |
| | Dimensions /0-9/ |''''|''''|''''|''''|''''|
| | | x y |
| | | |
| Creator /A-Z/ | > > > |''''''''''''''''''''''''|
| | | |
____africa | | | |
/ /_ | | | |
/ _________ /_ ____ | | |
/ / /_ /____ | |
/_______america __/ /___mexico___/_____ | |
/ \__North america ____/ \____________________________________________________|__ El zapotal(vercruz) |
Place /A-Z/__/ \___ \ _ \______ | |
\ _______ \_ | |
\________asia ______/ _________________ | |
\ \____________/ | |
\ \ \_______________ | |
\ \_______________ ______ | |
/ | |
____material____/ | |
/ \____________________________________|___ terracotta |
Mat x Tech /A-Z/___________/ | |
\ ________ | |
\____technique____/ ______________________________|___ molding |
\____/ | |
\ \__ | |
\____ | |
This type of display, seemingly data-based and scientifically constructed,
comes with its own type of story telling.
This story telling makes sense for us and builds upon discrete measures
and classification systems to tell us about the objects' stories.
An embedded narrative corresponding to the scale of values that the western
imaginary has in its experience.
The storytelling/display proposes a rationality which is limited to
'civilized/civic' affinities and the interoperability of standards.
Nevertheless it "makes sense" - it structures sense - despite of the
arbitrary aspect of the relations which were socially and politically
settled as rational.
Object classification
_________________|_____________ Collections _______________________________________
| | | | | | |
america china | Egypt | margin (Collection) |
| | | _________________________________ |
| ( musical instruments ) | | | |
| | | | border (Classification) | |
| ________|________ Classification | | ___________________________ | |
| | | | | | | | | |
| archeology Hornsbostel-Sachs | | | padding (Object Name) | | |
| __________|__________ | | | _____________________ | | |
| | | | | | | | | | | | | | |
| | | | | content (Inv. Nr.) | | | |
|
______|___________________________________ Object names
| | | |
__|__ __|__ __|__ __|__
| | | | | | | |
__|__ | | | | | |
| |
| It appears important to notice that the graphical display
| of the online catalog has some affinity with the graphical
| representation of categorical methods and rules (array, table,
| list,direction, hierarchy,...). There are proximities/affinities
| between the rules of the browser Document Object Model (DOM) and
| the ones of museal data structures.
|
|
|
| |
"A" "B" "...Tzitzimime" "..." "C" "D" "..." "E" Titles | | | | |title | |Inventory Nr. | |on display| | | | |
| | | | | | |______| | | |__________| | | | |
| | | | | |___________| |_______________| | | |
| | | | |______________| |__________________| | |
'A1' 'AAM00071.1' 'A3' 'B1' 'B5' 'C6' 'D7' Inventory Nrs | | ______ | | __________ | |
*. *. .* | | |owners| | | |Depository| | |
*. *. .* | | |______| | | |__________| | |
*. *. .* | |________________| |_____________________| |
{...} {MRAH} {...} {...} Owners |__________________| |________________________|
.
.
'A1'=0 'AAM00071.1'=1 'A3'=1 'B1'=0 'C5'=1 '6'=0 '7'=1 On display(=0/1)
.
.
X['A1','B1',...] MRAH['AAM00071.1','A3','B5',...] Y['C6','D7',...] Depository
Conversion guidelines for crooked graphics
-------------------------------------------
The object-centered catalog expands and entangles the different sets of arbitrary connections at work
in our browser, arbitrarily connecting two different forms of classification and data structure.
A script added to the browser emphasizes the proximity of rulesets by processing the relations between
the object's labels and DOM elements. In this way we would like to enable the visitor to sense the
implications of categorical narratives for the knowlegde/story of the objects by modifying the graphical
representation of the catalog according to the object's characteristics.
We share our own rationality-narrative to build sense from the relations that are promiscuous in the
frameworks of the catalog display, promiscuous but not reciprocating... Not yet.
A piece of the museum takes hold of the catalog by ruling the DOM/css elements of the webpage
according to its classical properties.
The illustration shows possible ways to connect DOM and CSS variables with an object's properties
and its position in the catalog's taxonomy.
____________________________________________________________________________________________________________________________________________________________
| #_INVENTORY NUMBER : The object gives to the page background a specific color corresponding to its number, influencing the following collection objects
| _____________________________________________________________________________________
| | _______________________________________________________________________________
| | |"_TITLE : If the object has one, this should be displayed instead of the page title. Otherwise the title will display its inventory number.
| | | _________________
| | | |*_The picture | {_COLLECTION : All the items will be displayed
| | b | |replace the logo | in such context during a timesetting relative to
| | o | |to confirm that | one holding item.
| | r | |the piece is | [_ OBJECT NAME : Representation of the godess Xochiquetzal or of a Tzitzimime
| m | d | |holding._________| !_DATING : The duration of the script's effects is a sensible projection
| a | e | of the role of the date in the evaluation of an object.
| r | r | @_PLACE : ...
| g | | &_MATERIAL : But there is more, the material property of the hosting
| i | | object processes some layout rules in their hierarchy relation,
| n | | according to the depth of the hosting object's material classification.
| | |
| |
| | %_DIMENSIONS : the measuring values are used to assign the layout rules...
| |
| | materials transformations for holders:
| |
| | animal = writing-mode [ 'horizontal-tb', 'vertical-rl', 'vertical-lr', 'sideways-rl', 'sideways-lr'] [ depth of lieu ]
| | |
| | | stone = [ height ]
| | | |
| | V V
| | +----------------------+<---stone = [ width ]
| | | |
| | T<--->E<--->X<--->T === vegetal = letter-spacing [ width/100 ] em|
| | | + |
| | E + \ |
| | | + \ |
| | X + \ | | |
| | | \ \ |<-border->|<-margin->|~[ depth of lieu ] = unidentified
| | T \ \ |
| | +---------------------+ \ | | |
| | | | \ | \|
| | | +------\----------|----* <----- metal = rotate [ diam || depth ] deg
| | | \ |+
| | | \ + |
| | | + |
| | | |
| | | |
| | | |
| | | |
| | | | ^
| | +---------------------+ < processed = translate [ width ] |
| | V |
| | processed = translate [ height ] |
| | |
| |
<-------------+ <-- earth = scale [ height/width ]
materials tranformation by the following objects, in the form of css filters:
animal = sepia
vegetal = opacity
metal = invert
earth = brightness
stone = hue-rotate
unidentified = blur
processed = contrast
on display= show all hidden elements
telling it in otherwise
The material
transformations
...
...should..........................................labels (material, place)..........................the...........................................
..........amalgamate........................some...........roots................................of..........class.DOM/css.............................
......................the.............of...........................to....................boxes.......................inheritence./hierarchy..
............................depth......................................the...........................
|....Hence..............................................|...................concentric................................................
|.............This model: ..............................|
| A UL Parent |
| ................................................ |
| D | | B |
| | E UL Parent rules | |
| | _______________________________________ | |
| | H | | F | |
| | | a LI child | | |
| | | | | |
| | | _______________________________ | | |
| | | d | | b | | |
| | | | e LI sibling | | | |
| | | | inherit Parent rules | | | |
| | | | h 1st element of list f | | | |
| | | | | | | | |
| | | | | g | | | |
| | | | |____________________________| | | |
| | | | | | |
| | | | | | |
| | | |_______________________________ | | |
| | | | | | |
| | | d e LI sibling | | | |
| | | inherit Parent rules | | | |
| | | h 2nd element of list f | | | ...become this :
|
|
|
--------------------------------------------|--------------------------------------------
--------------------------------------------|------------------------------------+
Top Metal > | |
_________________________|______________ |
-------------\---------\-------\----- --------------/------------+ |
\ /\ \ /\/ | |
Node Alloy > \/\ / /\ \ / \ | |
/ \ / \ | |
-------\---\--------------------------/-----/--+ | |
\ \ /\/ /\/ | | Parent |
\ /\ / \ / \ | | | Metal > Alloy > Copper Alloy > Brass
subNode Cooper Alloy> \/ \ / / / / | | | body > div > span > a
/ \ / / / / | | |
+------\----------/-----+ / | +child | |
| | | | end \/\ /\/ | / | | |
|--left--|--left--|--left--|-- / \ / \ | / | | |
| margin | border | padding| / / /\/ | | | depth of place , material
| | | | \ / / |\ +grand | | |
| \ |/ child | | |
| / | | |
| +so on /| | |
+-----------------------+ | |
^ ^ ^
left left inner edge right inner edge right
outer outer
edge grand child & sibling edge
---------------
child
---------------
parent
--------------- <-- bottom of the box
Workarounds for browser insecurity
----------------------------------
Security
and authority
strictly regulate
the access to data structures
such as catalogs and databases and to the
online interfaces that expose those structures to visitors.
These #individual visitor #179.36.154.1 #102.16.134.1 #183.16.208.1
limitations |text = browser | A modification of Il solo modo di aver Il n'est possible de
were | | how those structures un'esperienza diver- changer l'expérience
an | | are experienced is sa di queste struttu de la structure que
inspiration | | only possible in re é per mezzo di un depuis son propre
to | | one's own individual browser individuale, navigateur
spin |__________________| browser, individuel,
around
the
authority #172.18.169.1 #179.16.154.1 #172.16.224.1 #172.16.254.1
issue, A modification of A modification of A modification of A modification of
by how those structures how those structures how those structures how those structures
interfacing are experienced is are experienced is are experienced is are experienced is
a only possible in only possible in only possible in only possible in
browser one's own individual one's own individual one's own individual one's own individual
that browser, browser, browser, browser,
would
allow
us #172.16.254.1 #172.10.254.1 #132.16.254.1 #172.16.185.1
to A modification of A modification of A modification of A modification of
modify how those structures how those entities how those structures how those structures
one's are experienced is are sensed is are experienced is are experienced is
encounter only possible in only visible in only possible in only possible in
with one's own each own personal one's own individual one's own individual
the individual browser, browser, browser,
catalog, brow
and -ser
to #172.16.214.1 #172.13.224.1 #172.16.254.1
share A modification of |A modification of |
that ... |how those structures|
browser with others promiscuously. |are experienced is |
/ |only possible in |
/ |one's own individual|
/ |browser, another tec|hnology
? ? / who|se development is in|fluenced
/ #... | by the issue o|f
? / #172.10.254.1 | security. |
.....? / . . |____________________|
/
====================================== /
HOUSED || / ....#By accessing the url
IN || / . .
01010101011100011110001111 | and | /...............................................#one has access
01110011111000010101000011 || ....? ....? / . .
00111000 || /.....................#to the screen and mouse
THIS EXPOSED 01111000 A | | / .
COMMON BROWSER IS 00110 | accessing | /...............................#... .
HOSTED 0 || / #172.13.224.1
IN A MINIATURE COMPUTER 10 0 1 00111000111110000111001010|via the internet(@ http://all-syste.ms:8080/ )
( A RASPBERRY PI) 111000 || ....? \....................#... #...
00111000111111000110110011 || \ .
PLASTIC | from | \...........#of that miniature computer,
|| \ .
TUPPERWARE | different | places...?? \......................................................#172.16.254.1
===================================== \ .
? ? \ #effectively ending up
\
? \
\.... using a...
#myIndividualBrowser______
| |
| #AA0071.1Browser |
| | # | |
| |#me # | |
| | # # | |
| | # | |
| | # # | |
| |-within-_______| |
| |
|______________a-browser, potentially in company of others...#...#...#...#...
