Oz
		In his next published essay,‘ Entropy and the New Monuments’ Smithson argued that ‘instead of being made of natural materials, such as marble, granite, or other kinds of rock, the new monuments are made of artificial materials, plastic, chrome and electric light’. There’s something of Huysmans in Smithson’s praise of glowing colours and artificiality, but for the young American in the mid-’60s there was no need to build a hermetically sealed temple to sustain them. The ‘new monuments’ of Judd, Flavin, Lewitt and others occupied a space bordered by science fiction on the one side and the developing urban and suburban landscape on the other; you are left with a sense that these borders were being drawn closer together and being harder to distinguish from one another. (…) And more: he saw in this colour a glimpse of another world or, rather several other worlds: the past-present worlds of minerals and crystals, and the future-present worlds of science fiction. The glowing-crystal-sci-fi-New-Jersey version of Minimalism is also almost a land of Oz – a ‘Mr Wizard’ even makes an appearance in the ‘Crystal Land’ – a land where colours and reflections disturb ontologies and deform objects. For these commentators, the feminine, oriental, infantile, and narcotic aspects of colour have often been part of its attraction, but its popular, vulgar and commercial associations have been altogether less appealing. Huxley for example, discussed at length how the sparkle of modern materials was a devaluation of the transcendent glitter of precious stones: ‘We have seen to much pure, bright colour at Woolworth’s to find it intrinsically transporting.’ David Batchelor, Chromophobia Gräddan av de brittiska nybuddisterna och nyhinduerna lämnade Europa i samband med andra världskrigets början och flyttade till Kalifornien. Aldous Huxley, Christopher Isherwood, Allan Watts – alla kommer de till USA oberoende av varandra men inom loppet av några få år. Olav Hammar, På spaning efter helheten, New Age en ny folktro?
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		When we immediately recognize a watch or a giant Tupperware vat as an artifact, or when we recognize some form of counterflow as counterflow, what exactly are the tip-offs? What properties constitute our clues? In discussions of design, whether of the traditional design arguments or of more recent cases, proposed signs of design almost invariably consists of complicated development, complex structure, coordination of elements, interlocking functions, vanishingly small probabilities, adjustment of means and ends, purposelike behaviors and the like. Counterflow comes in a variety of forms. Let us begin with an example. Suppose that you found yourself playing poker with a stranger in the Old West. The stranger is an innocent-appearing sort, seemingly all thumbs when it comes to dealing. You spot nothing outrageous or suspicious in any given deal, but you begin to notice over time that the stranger never looses when he deals. You correctly conclude that you have tangled with a shark who is somehow managing to skew the odds in his favor somewhere, that you are being made the victim of some subtle counterflow. Design advocates sometimes cite secondary marks as indirect evidence of counterflow. For instance, although the eye does not exhibit the hard counteflow visible in a diesel bulldozer, it is sometimes argued that the integrated and operative complexity it does exhibit could not have been produced by unaided nature. Nature, Design, and Science, the status of design in natural science. Del Ratzsch The state of the dynamical system at any instant of time becomes, after this mapping operation, a single point in the manifold. As with any map, there is a trade off here: we exchange the complexity of the object for the complexity of the space itself, that is, an object no matter how complex becomes a single point, a great simplification, but the space in which the point is embedded, at least for four or more degrees of freedom, becomes now much more complex. Cartographies: Intensive and Extensive, Manuel DeLanda Färgade flaggor vajar på tjocka bambuflaggstänger. I en betongbassäng med en sprutande vattenfontän ligger en störtad mås på rygg och flyter. Hon får syn på den döda måsen efter att de sett "Altäre", utställningen på det nyrenoverade konstmuseet. 66 altare från hela världen är utställda i de många salarna. Direktören för utställningen säger "If we are really serious about globalisation, then we must respect and ackowledge the referential framework of non-western artists, and in many cases, this happens to be religion." De dricker kaffe i recycling bar, det finns bara en sorts kaka att välja på. Hon tycker det känns som en befrielse att inte ställas inför några val. Då servitrisen kommer in med kakan har hon ändå två sorter med sig. En smakar pepparkaka och en har ett lager med hallon. Seagull av Annelie Nilsson 2001