The double consequence of artifice-to project sentience out onto the made world and in turn to make sentience itself into a complex living artifact-is thus fractured, neatly fractured, into two separable consequences, one of which (projection) belongs to one group of people, and the other of which (reciprocation) belongs to another group of people, and this shattering of the original integrity of projection-reciprocation into a double location has its most sustained registration in the texture of analysis that alternates between an almost sensuous rendering of the inner desire and movements of capital (the large Artifact) on the one hand and an almost arithmetic recording of amplified human embodinedness on the other. Though the interior value of capital is projected there through the collective labor of the workers, it now (by becoming internally self-referential, and when once more externally referential, referring to a much smaller group of people whom it now disembodies and exempts from the process of production) standas apart from and against its own inventors.
Elaine Scarry The Body in Pain
And I think this is the real epiphany: the ways in which culture is distributed become profoundly more intriguing as a cultural artifact itself. What we've experienced is an inversion of consumption, one in which we've come to prefer the acts of acquisition over that which we are acquiring, the bottles over the wine.
An odd thing about perception is that when we identify some new thing with one or more of our five senses, it is not really, immutably real - it is a passing will o' the wisp, an artifact of the senses and the translations of the brain until we get used to it and we give it a home in our hearts
Be generous with your time and your resources and with giving credit and, especially, with your words. It's so much easier to be a critic than a celebrator. Always remember there is a human being on the other end of every exchange and behind every cultural artifact being critiqued. To understand and be understood, those are among life's greatest gifts, and every interaction is an opportunity to exchange them.
The idea of the western, I believe, as people conceive of it, is really an artifact of the Hays Production Code of the '20s and '30s, and it has really nothing to do with the West and much to do with the influence of middle-European Jews who had come out to Hollywood to present to America a sanitized heroic idea of what America was.
I think continuity is the devil. I think it's constricting and restrictive, I think it's alienating and off-putting, and it inflicts an artifact of linear time as we experience it on something that exists outside of linear time as well as keeps new readership away by keeping comics a matter of trivia and history rather than actual stories.
SF is an opportunity to have an intense relationship with your own imagination. It's a kind of drive-by poetry, trashy and addictive; it's fun. After that, for me, it's an opportunity to explore that kind of imaginative artifact from inside, and use a little camped-up contemporary science as a way of generating new metaphors around my typical obsessions.
M. John Harrison
Eventually, I headed to the bathroom, and I mention this only because I saw in that bathroom the most quintessentially American artifact I have ever encountered: a bright blue rubber mat resting in the bottom of the urinal emblazoned with the following legend: Epply World's Cleanest Airport Omaha, NE God bless our relentless idiotic optimism.
The book itself is a curious artifact, not showy in its technology but complex and extremely efficient: a really neat little device, compact, often very pleasant to look at and handle, that can last decades, even centuries. It doesn't have to be plugged in, activated, or performed by a machine; all it needs is light, a human eye, and a human mind. It is not one of a kind, and it is not ephemeral. It lasts. It is reliable.
Ursula K. Le Guin
The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks. In the digital economy, everything is archived, catalogued, readily available, and yet nothing really endures. The links are digital encryptions that can and won't be located. That will have to be reassembled over time. It won't be exactly what it was. There will be some slightly altered version. So the book is both an immaterial and material artifact.
Books, be they physical objects or electronic pulses, are way cool. They are idea houses. So let those who want to read from machines. Those who love the feel, the smell, the gilt edging and the pretty covers and the soft paper, and the kinetic memories will enjoy the physical objects. Either form can be artifact. So long as we're all reading, and gaining joy from it, does it really matter so much?
The dialectical or ecological approach asserts that creating the world is involved in our every act. It is impossible for us to operate in our daily lives and not create the world that everyone must live in. What we desire arranges the genetic code in all of our major crops and livestock. We cannot avoid participating in the creation, and it is in agriculture, far and away our largest and most basic artifact, that human culture and the creation totally interpenetrate.
Money, after all, is an abstract artifact, like language - merely symbolized by the paper or coin or whatever. If you can fully grasp its abstractedness, especially in the computer age, it becomes quite clear that no group can monopolize this abstraction, except through a series of swindle. If the usurers had been bolder, they might have monopolized language as well as currency, and people would be saying we can't write more books because we don't have enough words, the way they now say we can't build starships, because we don't have enough money.
Robert Anton Wilson
For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
Information wants to be free.' So goes the saying. Stewart Brand, the founder of the Whole Earth Catalog, seems to have said it first. I say that information doesn't deserve to be free. Cybernetic totalists love to think of the stuff as if it were alive and had its own ideas and ambitions. But what if information is inanimate? What if it's even less than inanimate, a mere artifact of human thought? What if only humans are real, and information is not?... Information is alienated experience.
Information wants to be free.' So goes the saying. Stewart Brand, the founder of the Whole Earth Catalog, seems to have said it first.I say that information doesn't deserve to be free.Cybernetic totalists love to think of the stuff as if it were alive and had its own ideas and ambitions. But what if information is inanimate? What if it's even less than inanimate, a mere artifact of human thought? What if only humans are real, and information is not?...Information is alienated experience.
Wilderness is the raw material out of which man has hammered the artifact called civilization. Wilderness was never a homogenous raw material. It was very diverse. The differences in the product are known as cultures. The rich diversity of the worlds cultures reflects a corresponding diversity. In the wilds that gave them birth.
Yet the most pervasive error one encounters in contemporary arguments about belief in God-especially, but not exclusively, on the atheist side-is the habit of conceiving of God simply as some very large object or agency within the universe, or perhaps alongside the universe, a being among other beings, who differs from all other beings in magnitude, power, and duration, but not ontologically, and who is related to the world more or less as a craftsman is related to an artifact.
David Bentley Hart
The canon is an artifact of revelation, not an object of revelation itself. It is known infallibly to God by necessity and to man with a certainty directly related to God's purpose in giving the Word to the church. The canon exists because God has inspired some writings, not all writings. it is known to man in fulfillment of God's purpose in engaging in the action of inspiration so as to give His people a lamp for their feet and a light for their path.
James R. White
The book itself is a curious artifact, not showy in its technology but complex and extremely efficient: a really neat little device, compact, often very pleasant to look at and handle, that can last decades, even centuries. It doesn't have to be plugged in, activated, or performed by a machine; all it needs is light, a human eye, and a human mind. It is not one of a kind, and it is not ephemeral. It lasts. It is reliable. If a book told you something when you were fifteen, it will tell it to you again when you're fifty, though you may understand it so differently that it seems you're reading a whole new book." (Staying Awake: Notes on the alleged decline of reading, Harper's Magazine, February 2008)
Ursula K. Le Guin
It was a warship, after all. It was built, designed to glory in destruction, when it was considered appropriate. It found, as it was rightly and properly supposed to, an awful beauty in both the weaponry of war and the violence and devastation which that weaponry was capable of inflicting, and yet it knew that attractiveness stemmed from a kind of insecurity, a sort of childishness. It could see that-by some criteria-a warship, just by the perfectly articulated purity of its purpose, was the most beautiful single artifact the Culture was capable of producing, and at the same time understand the paucity of moral vision such a judgment implied. To fully appreciate the beauty of the weapon was to admit to a kind of shortsightedness close to blindness, to confess to a sort of stupidity. The weapon was not itself; nothing was solely itself. The weapon, like anything else, could only finally be judged by the effect it had on others, by the consequences it produced in some outside context, by its place in the rest of the universe. By this measure the love, or just the appreciation, of weapons was a kind of tragedy.
Iain M. Banks
Contemporary attitudes toward urban parks fall into three levels of sophistication. The first, the most naive assumption, is that parks are just plots of land preserved in their original state. If asked to discuss the issue at all, many laymen have maintained this much, that parks are bits of nature created only in the sense that some decision was made not to build on the land. Many are surprised to learn that parks that an artifact conceived and deliberated as carefully as public buildings, with both physical shape and social usage taken into account. The second, a little more informed, is that parks are aesthetic objects and that their history can be understood in terms of an evolution of artistic styles independent of societal considerations. The third is the view that each of the elements of the urban park represents part of planners' strategy for moral and social reform, so that today, as in the past, the citizen visiting a park is subject to an accumulated set of intended moral lessons.
Dr. Louis Jolyon 'Jolly' West was born in New York City on October 6, 1924. He died of cancer on January 2, 1999. Dr. West served in the U.S. Army during World War II and received his M.D. from the University of Minnesota in 1948, prior to Air Force LSD and MKULTRA contracts carried out there. He did his psychiatry residency from 1949 to 1952 at Cornell (an MKULTRA Institution and site of the MKULTRA cutout The Human Ecology Foundation). From 1948 to 1956 he was Chief, Psychiatry Service, 3700th USAF Hospital, Lackland Air Force Base, San Antonio, Texas Psychiatrist-in-Chief, University of Oklahoma Consultant in Psychiatry, Oklahoma City Veterans Administration Hospital Consultant in Psychiatry. [... ] Dr. West was co-editor of a book entitled Hallucinations, Behavior, Experience, and Theory. One of the contributors to this book, Theodore Sarbin, Ph.D., is a member of the Scientific and Professional Advisory Board of the False Memory Syndrome Foundation (FMSF). Other members of the FMSF Board include Dr. Martin Orne, Dr. Margaret Singer, Dr. Richard Ofshe, Dr. Paul McHugh, Dr. David Dinges, Dr. Harold Lief, Emily Carota Orne, and Dr. Michael Persinger. The connections of these individuals to the mind control network are analyzed in this and the next two chapters. Dr. Sarbin (see Ross, 1997) believes that multiple personality disorder is almost always a therapist-created artifact and does not exist as a naturally-occurring disorder, a view adhered to by Dr. McHugh, , Dr. Ofshe and other members of the FMSF Board, . Dr. Ofshe is a colleague and co-author of Dr. Singer, who is in turn a colleague and co-author of Dr. West. Denial of the reality of multiple personality by these doctors in the mind control network, who are also on the FMSF Scientific and Professional Advisory Board, could be disinformation. The disinformation could be amplified by attacks on specialists in multiple personality as CIA conspiracy lunatics, , , . The FMSF is the only organization in the world that has attacked the reality of multiple personality in an organized, systematic fashion. FMSF Professional and Advisory Board Members publish most of the articles and letters to editors of psychiatry journals hostile to multiple personality disorder.
Colin A. Ross