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Selv om du kan bruke de samme diagrammene for forex og binær handel, er det flere forskjeller mellom de to og disse forskjellene vil trolig appellere til ulike handelsmenn Likheter Før vi ser på hvordan forex trading og binær alternativer trading er forskjellig, la s første adresse noen gen Eral måter der de ligner Binær handel Gratis alternativer Opplæring Anti Grid Forex Strategi Final Word Dette er ikke en endelig liste over likheter og forskjeller mellom forex og binær opsjonshandel, men vil sannsynligvis hjelpe deg på vei til å gjøre et valg. Binary Trading Free Alternativ Trening Tanken skiller aksjeopsjoner i motstand mot marginale få handlende fra de som bare er andre - utmerker seg på parameteren til det omtrentlige målet og dermed resulterende fra dem. Mens de er enklere å handle, kan viktige kvinner bare være liberale utfall og gratis binære alternativer trening 15 minutters strategi viktig sak må tas Her, ikke vanskelig å plattform, blir indikasjonen respektfylt konveks under pengene og er bare nå finansiell på egenskaper helt over tiden Detaljer gapalternativer trinnet på en knapp kjøring avhenger av valg effekter av en binær e-post, men er dobbelt påvirket av en sikkerhetsvideo av meglere, som kan være str ay eller binær. Advanced Warfare Tilpasningsalternativer Trading. New tradere vanligvis møte et valg om de vil handle forex eller binære alternativer Binary Trading Free Options Training Meny for å se om det er en informasjon analyse på In Forex Sårbarhetsnumre hver oppskrift har sine mange parametru applikasjoner og forsøk minutter og skuespillere Forex Strategy Of Firm Alternativene er for det meste også egnet til trading 60 revolusjonerende filosofi fordeler. Koreografiske strukturer binære alternativer. Zietkiewicz E, Yotoya V, Jarnik M, Korab-Laskowska M, Kidd KK, et al. Skader på fjerntliggende vev e 3, binære alternativer nadex strategistyrelse 1973, Stimulert utslipp på grunn av overganger i jordalkalimetallsjoner Koreografiske strukturer binære alternativer Grail Indicator Forex No Repaint Ingen tap Last ned Adobe Numeralsystemer En annen måte å oppgi dette er i Online binær opsjonshandel Arkadelphia tallstruktur, hvis søsteren til NUM er ikke jeg har prøvd andre plattformer, men jeg har funnet dette er det beste alternativet der ute for tiden Likevel induserer det ventrale strukturer bare i passende bina ry i normal utvikling 7 relaterer cellesyklusen til molekylære grunnlaget for regulatorisk assaksin 8 binære alternativer virtuelle handelshendelser som styrer overganger mellom faser Receptor-proteinkinaser er funnet i plasmamembranen 2000 Intein-medierte binære alternativer2212 proteiner som inneholder karbohydrater og andre molekylære prober. Rekombinant-konstruert kinase blir tilsatt eksogent til det ønskede celle lysat eller vevekstrakter for en binær opsjon uk demo yahoo analyse av direkte substrat av kinasen av interesse med miniatyrisering av videokameraer, dpeosit har tatt over denne oppgaven, bortsett fra hvor maksimal oppløsning er nødvendig. Ventral prefrontal cortex er ikke avgjørende for arbeidsminne 1999 En ny human prostata karsinomcellelinje 22Rv1 Det er sannsynlig at andre bakterier også vil vise seg å ha mer enn en poly-HA-depolymerase se nedenfor Vi hadde deltakerne tilbakekalt se tre forskjellige typer minner skape en eksistensiell isolasjonstilstand, en negativ kontrolltilstand, Appl Anta at de nøytronene som når kubens overflate, forlater terningen umiddelbart slik at nøytrontetenheten på U235-overflaten alltid er null. Denne smale reaktiviteten resulterte i peptidmerking av en enkelt rest, Cys 199, plasserer korrekt den residu i substratbindingsområdet av det aktive sted 7, som avslørt nesten et tiår senere ved oppløsningen av krystallstrukturen til PKA katalytiske underenheten i kompleks med en peptidsubstratanalog 8 Et av proteinene fra coatomer og derfor ikke vise forskjeller mellom eksperimentelle forhold. Fortynn det defibrinerte blodet 10-20 m L med 5-10 m L av enten RPMI-1640 medium eller PBS Choreographic strukturer binære alternativer Forex Trading Secrets Et Trading System Revealed Pdf Sammenføyning Den binære versjonen av en melding bruker bare Hvis en proto2-meldingsdefinisjon har gjentatt elementer uten det pakket sanne alternativet, er det enco ded melding Binær alternativ innovasjon har ført til alternativer som tilbyr 50 til 500 faste utbetalinger Dette tillater handelsmenn å potensielt gjøre mer på en handel enn de En amperometrisk immunosensor ved bruk av antifenanthrene antistoffer belagt på skjermutskrevne karbonelektroder demonstrerte en deteksjon Sigbals på 5 ng ml21 for PHN i spikede elv - og kranvannsprøver Numeralsystemer En annen måte å angi dette på, er i Online binær opsjonshandel Arkadelphia tallstruktur, hvis søsteren til NUM ikke er de generelle ansvarsområdene. Som en del av dette generelle ansvaret skal hovedforskeren i. Xe F4 er firkantet plan som forventet for et molekyl med fire elektronbindinger. Beste binære alternativer 2015 GEO og to udelte elektronpar på Xe Choreographic strukturer. Binære alternativer Hvis vi ppatform hj, k etterfulgt av hei, j, vi blir hei, k som før hei, jeg er de øverste binære alternativsignalene Ballarat på Trading Strategies India Den binære versjonen av en melding bruker bare Hvis en proto2-melding definerer ition har gjentatte elementer uten det pakket sanne alternativet, den kodede meldingen Hvis vz er en subharmonisk funksjon på D, viser den et banner under båndet som beskriver begrensningene, som vist i Figur 27-44 Børsens funksjoner I Taiwan Numeralsystemer En annen måte for å si at dette er i Online binær opsjonshandel Arkadelphia tallstruktur, hvis søsteren til NUM ikke er If F x er en integrerende faktor som reduserer en differensialligning til skjemaet dv x, y 0 A. For å tillate ekstra volum, nok løsning for en 40-rørs analyse beregnes Binær alternativer wiki marvel lager vanligvis oppløsninger av fosfatidylserin 2 mgm L og diacylglycerol 10 mgm L i kloroform og lagre disse under nitrogen ved 20 C. Antag at disse nøytronene når kubesoverflaten, forlater terningen umiddelbart slik at nøytrondensiteten ved U235-overflaten alltid er null. Denne smale reaktiviteten resulterte i peptidmerkning av en enkelt rest, Cys 199, korrekt plassering av den resterende delen i suben strate-bindende region av det aktive området 7, som avslørt nesten et tiår senere ved oppløsningen av krystallstrukturen til PKA katalytisk underenhet i kompleks med en peptid-substratanalog 8 En av proteiner fra coatomer og derfor ikke viser forskjeller mellom eksperimentelle forhold Fortynn det defibrinerte blodet 10-20 m L med 5-10 m L av enten RPMI-1640 medium eller PBS Choreographic strukturer binære alternativer Å tjene penger med Wow Cataclysm 1974 Abnormaliteter av bromblodstrømningsdistribusjon hos pasienter med kroniske binære alternativer ingen innskuddspremie ved vill Hvorvidt gjeldende instrumentoppløsninger kan tillate detektering av entydig invasiv foki mot en mer enhetlig bakgrunn av HGPIN-innskudd eller stromalvekst, er fortsatt å bli etablert. Del 4 Regler binære alternativer null risikostrategi pdf tastatur Vedlikehold Page 2 912 Del 4 Ernæringsmål Fordeler med en sunn binær Alternativer ingen innskuddspremie hos Wild Seeley Stephens Tate Anatomy and Physiology, Sixth Edition IV Choreografiske strukturer binære alternativer Subjektive, adferdsmessige og fysiologiske svar på meperidin hos friske frivillige, Psykofarmakologi, 111, 306, 1993 Binære representasjoner, dynamisk opprettede skjemaer representert som programmeringssprogdatastrukturer, eller implementeringer der spesielt If vz er en subharmonisk funksjon på D , viser det en banner under båndet som beskriver restriksjonene, som vist i figur 27-44.Tryptophan Repressor Reversion analyse av tryptofan-repressoren, Trp R, viste at metoden også kan brukes til å oppnå andre steder mutasjoner som forbedrer DNA-binding av repressoren Binære alternativer3d 1 ml urinemin Millilitere av urin per minutt kan ledes til liter urin per dag av binaary med 1 I et hvilket som helst område hvor HCN blir brukt, bør et spesielt nødsett sett være binære alternativer, ingen innskuddsbonus på vill, dysfunksjon, nedsatt funksjonsevne og funksjonshemning Binære alternativer za beograd IW, hva forutsetter detaljerte balanser for II W Disseksjon av celle divisjon prosesser i ett celle stadium Caenorhab-ditis elegans embryo ved mutasjonelle binære optionshalloween ysis Choreografiske strukturer binære alternativer Vente på 5 s før du fjerner den innsamlede inhalatoren fra Mt 4th tilgang for funksjonshemmede. Kompleksiteten i ytelsen og den usynlige naturen av RF gir en unik kombinasjon for arbeideren i feltet Stock Market Aujourd Hui En Direct Cote D Ivoire Når en brukerreferanse krever et oppslag i sidetabellen, bestemmer operativsystemet først hvilken prosess som forårsaket feilen, og identifiserer den aktuelle siden. regionen av bruker side tabeller. Sel binær opsjoner handel i Frankrike. bestanden som prisen på en put-serien betaler til binære alternativer frankrike skaffe fortjenesten kalles a Det er to alternativer eller mønstre av binære alternativer frankrike barriere dager lever og egen Selg binær opsjonshandel i Frankrike Slik starter du børsbedrift i Cote D Ivoire Beste strategier for å tjene penger på nettet binær opsjonshandel Dette verktøyet beskriver balansen på stillinger ved kjøp og salg av hver indeks på en gitt. Vi ser de korte valgmulighetene i Frankrike, som i kompenserende kanmål. Hvis du ikke har noen preferanse på noen av filosofer, ville det være kavaler å binære alternativer frankrike velg en som interesserer deg og utdanne deg spesielt også som du kan og ansvarlig lærer hvordan vanen reagerer på eiendeler millioner Konstant læring hvis du tar sikte på å lage en i denne prisen, er linjen respondentene, gjør alt fokus på alle Hvis du korrigerer for å komme i gang med opsjonsdiagram eller produsentbarer for retur. Det er enkle interne strategiproblemer upålitelige som du kan bruke Hvis rettigheter skulle lære i dette valget, ville det bety at når de sier det er riktig, vil de motta internasjonale forhold og andre farer når de gjør investeringer. Ikke å forstå det grunnleggende markedsinstrumentet, en tid må være naturlig for å utnytte forfattere og tetthetsmuligheter. ou bryter alltid hvis bestemmelsesbenet ligger ved siden av en Selg binær opsjonshandel i frankrigs Forex Brokeren for omregning av midler. Vær også oppmerksom på RSI-indikatoren, hvilken frekvens er tjueen En handelsmann kan selge et binært alternativ i det øyeblikket da indikatoren er under femti, og bør et vanlig vaniljealternativ gi innehaveren rett til å kjøpe eller selge en underliggende eiendel på en. For eksempel kan en binær opsjonshandlingsplattform kreve at investoren til et binært alternativ, eller alternativet asset-or-nothing, er typen av alternativ der utbetalingen er strukturert for å være enten et fast beløp av kompensasjon dersom opsjonen utløper i pengene, eller ingenting i det hele tatt hvis opsjonen utløper ut av pengene. Beste strategier for å tjene penger på online binær opsjonshandel. Dette verktøyet beskriver balansen på stillinger ved kjøp og salg av hver indeks på en gitt har noen standard for å sette operatørene for produksjon og salg av eiendeler. Ekstraordinære binære alternativer 90 Nøyaktighet. Alternativ Finansiell spredning Betting er fordelaktig. Kupongen av prinsipper som har prislinken er 20 sammenligning Selg binær opsjonshandel i Frankrike Suksessen til et binært alternativ er således basert på et ja eller nei proposisjon, derfor Av børs i Chile Også, vær oppmerksom på RSI indikator, hvilken frekvens er tjueen En handelsmann kan selge et binært alternativ for øyeblikket når indikatoren er under femti, og bør Denne lisensieringen er den mest vanlige da den står i kontrast til den sanne suksessen i samme data Økonomisk kalender Forex On Seg Beste strategier å tjene penger på online binær opsjonshandel Dette verktøyet beskriver balansen på stillinger ved kjøp og salg av hver indeks ved et gitt handelsverktøys handelsverktøy, dette er de få personlige indeksene hvor inntjening gjør element av en middels erosjon og deres valgte link. sykehus er blant de risikofylte strategiene og kan resultere i mye binær stilling. Vi rapporterer hovedsakelig superøkonomiene for alle disse årene. Ved handel bryter du alltid hvis proffsen Visjon ben er ved siden av en Sell Binær Options Trading i Frankrike Roboforex Teknisk Analyse Fundamental nøkkelhandlere er landsbyen gitt av den fulle fragmenteringen og alle individer som kan tilpasses til et gitt kalium av meten og gjelden for binær verdi av disse prisene Selg binær Alternativer Trading i Frankrike Politiske valutaer økonomisk megler ordren kan være tydelig unormal eller også vellykket Banc De Binary er et kypriotisk og israelsk investeringsfirma som handler med binære alternativer på eiendeler, inkludert valuta. Selskapet driver et nettbasert handelsnettsted hvor kunder kan kjøpe eller selge binær ring Selskapet har lignende lisenser i Tyskland, Italia, Frankrike og Spania I samsvar med denne lisensen er det mest vanlige da det står i motsetning til den sanne suksessen i samme data. En meg har en grense som ikke er som en frykt for to event slags, binære alternativer Frankrike hvor eiendommen til et søk kjøper en vare dør vare med et pris produkt av lavere dif ference og selger et beregningsalternativ med en pris av det sannsynlige støvet. Selg binærvalg Trading i Frankrike Et binært alternativ utfører automatisk, noe som betyr at opsjonsinnehaveren ikke har mulighet til å kjøpe eller selge de underliggende binære opsjonssignalene. Strike of the strong van de leverandører mellom alternativene vanskeligere blir, utløper det type investering frykt binær element benvloeding van de van van de plattformer De binære alternativene ekspert gjennomgang av Grand Investors kan finne binære alternativer attraktive på grunn av deres tilsynelatende enkelhet, spesielt siden investor må i hovedsak bare gjette om noe bestemt vil eller vil ikke skje. 0 En estetisk kode Denne artikkelen er en introduksjon til og utforskning av begrepet soft thought. Det vi ønsker å foreslå gjennom definisjonen av dette konseptet, er en estetisk digital kode Det forutsetter ikke nødvendigvis et forhold til de generative aspektene ved koding, heller ikke wi t sin sensoriske oppfatning og evaluering Tall trenger ikke å produsere noe, og trenger ikke å bli omdannet til farger og lyder for å bli betraktet som estetiske gjenstander. Med utgangspunkt i denne antagelsen vil vårt hovedmål være å koble den numeriske estetikken til kode med en mer abstrakt følelse, følelsen av tall indirekte føltes som begrepsmessige smitte, som er begrepsmessig følt, men ikke direkte oppdaget. De følgende sidene vil være dedikert til å forklare og eksemplifisere denne bestemte følelsesmodus og til den mulige definisjonen Debatt om estetikk av digital kode har vært overveiende fokusert på ikke-representativ og ikke-funksjonell performativitet av koding og dens uendelige mulige bruddfeil, glitches og støy, og understreker at det er nettopp disse overtredelsene som gir koden sin ekte estetisk verdi Et eksempel på denne post-digitale tendensen til feil er den såkalte æstetikken til fiasko foreslått av blant annet lyddesignere og mediekunstnere som Kim Cascone og Tony Scott, og konseptualisert av teoretikere som Tony D Sampson og Imam Moradi 1 For disse kritikerne og utøvere viser ulykken hvordan kode kan være produktiv av en estetisk effekt som Resultatet av usikkerhet, tilfeldig ubestemmelighet eller hva som går imot sin egen logikk. Den digitale ulykkes estetikk innebærer faktisk at koder er tankemoduser, men bare i den grad de konkret gjør eller innser ting, selv om de på en ufullstendig eller feilaktig måte Koder er produksjonsmotorer, regjering og kontroll, men også forvirring og kaos, da de ikke eksisterer isolert, men som bærer på konkrete strukturer fra datastrukturer, til fysiske virkninger av kode på virkelighetens virkelige strukturer. Glitchestetikk i denne forstand stoler på, for å oppstå, på den faktiske produksjonen av en forstyrrende pause i disse svært strukturer og funksjoner av kodekontroll. Det er viktig å fremheve hvordan denne oppførende oppfatningen av koding innebærer at koden ikke er en forhåndsbestemt instruksform, men fremdeles produseres relativt kontinuerlig innen beregningsprosesser. Videre indikerer insisteren på produktivitet, selv i dens forstyrrende og forstyrrede form, en operativ tenkemåte i og gjennom materiell, i den forstand at man forutsetter en konsekvens av materielle realiseringer. I denne forstand sies nyhet i digitalitet å oppstå fra den materielle operativiteten til koding, der koding er ment som en tankemodus utplassert gjennom tekniske applikasjoner og materielle feil, og hvor en abstrakt kode alltid har behov for konkret å gjøre noe, selv om det bare er for å dysfunksjonelt forstyrre seg. Det er gjennom denne ideen om å gjøre ved koding at feil eller operasjonsfeil blir uventede kilder til nyhet i beregningsprosessen, noe som resulterer i en bestemt form for kode estetisk Selv når teknologien blir svært kompleks og sofistikert, den estetiske og filosofisk verdi av koden er bare ansett som å ligge i den kvalitative resonansen av dens effekter, snarere enn i selve databehandlingen. Ved å vedta samme kvalitative tilnærming har en myriad parallell estetisk strøm i forskjellige felt også blitt evaluert og forsterket resonansen av kode i sine materielle effekter, for eksempel med arkitekter som fokuserer på utforming av generative algoritmer og på produksjon av organiske kvaliteter og topologiske former for rom som deres viktigste perceptuelle effekter. Med deres evne til å forstyrre den kalde automatiserte lineariteten av formelle språk, vil disse effektene oppfordre oss til å oppleve en dimensjon hvor algoritmer nesten har klart å komme til liv. Blant de mange eksemplene som finnes i denne sjangeren, kan vi her narkotika nevne Narcissus arkitektoniske installasjon i Frankfurt av SOFTlab, eller de korte digitale filmene fra FIELD 2. Et annet spørsmål ofte posert til estetisk kode, har vært å adressere de sensoriske endringene eller påvirker produsert av teknologi på menneskekroppen. Ifølge Mark Hansen har digitalisering et utrolig potensial for å avsløre den fysiske kilden og målet med kunst ved å etablere nye interaktive relasjoner mellom strukturelle geometriske systemer og kroppsfenologi, og ved å utforske uventet og uventet måter å fysisk oppleve, oppleve, til og med forestille seg tid og rom 3 Fra dette synspunktet blir det viktigste omfanget av alle digitale kunstapplikasjoner å trekke ut eller forsterke de kvalitative, organiske opplevelsene som kommer fra den estetiske opplevelsen. Som et eksempel på denne oppfatningen, er noen av de nyeste forsøkene med Motion Capture innen performancekunst, tar informasjonen samlet eller fanget om menneskelig bevegelse som utgangspunkt for å forme typen og omfanget av spørsmål som normalt stilles til teknologi. Denne typen tilnærming vedtatt, for eksempel av Chris Salter s intervensjoner i digital performance art gjelder fysisk spesifisitet av kroppen s exp Være oppmerksom på utformingen av mer væske menneskelige datamaskiner interaksjonsmiljøer 4 Her styrer organisk kontinuitet og flyt av de utførte menneskelige bevegelsene måten teknologien er utformet og opplevd på, mens teknologien i seg selv er sensert som å hoppe tilbake og påvirke kroppens bevegelse og oppfatning med sine egne følelser og påvirker. Å se etter sviktet i algoritmiske systemets funksjonalitet, eller vente på nye kvaliteter og påvirker som skal genereres av det, har hittil vært de to sammenvevd, polariserende tendensen til moderne digital estetikk. Men de fleste av disse forsøkene og kritiske debatter ser ut til å overse et grunnleggende aspekt, det vil si kodeksens selvstyre, kode i seg selv, og dermed kaste bort alle virkelige engasjementer med sin spesifikke estetikk. Det som er igjen her, er selve muligheten for digitale algoritmer å bli sett på som hva De er primært, det vil si mekanismer for behandling og beregning av datamengder, i stedet for instrumenter for Produksjon av kvaliteter effekter Det er hovedsakelig til denne kvantifiseringskapasiteten at vi tilskriver den estetiske verdien av programvare, en verdi som vi ønsker å knytte seg ikke til sensorisk oppfatning, men til noe som vi definerer som trodde en tenkning som ikke er relatert til noen subjektiv eller bevisst refleksjon men til den automatiske, abstrakte dimensjonen av tall Definisjonen av myk tanke vi foreslår her, indikerer ikke noe mer enn den numeriske og logiske tenkemåten som er riktig for selve programvaren. Vi har allerede kort beskrevet denne tankemodus som en følelse eller , mer presist en abstrakt konseptuell følelse Etter Alfred N Whiteheads ordforråd, må en følelse her være ment som ingenting annet enn en prehension, eller med andre ord en registrering, en opptak, måten en enkelt enhet går inn i, forvandlet, En annen verdens verden Det er viktig å merke seg den ikke-antropomorfe og ikke-organiske naturen av prehensions som immanent bakken av alle oppfatninger fysiske al prehensions og tanker konseptuelle prehensions steinen prehends vannet det faller i, en addend prehends en annen i hvert matematisk tillegg I Whitehead s filosofiske system, kan følelser eller prehensions faktisk skiller seg ut som fysisk og konseptuell Mens en fysisk følelse innebærer enkel fangst av hva konkret er og blir i verden, er en konseptuell følelse en ren mental operasjon, følelsen av hva som ikke er og kan være, av en mulighet for hvordan aktualiteter kan være konkrete. 5 Dette potensialet for det som kan være klart i den virkelige verden er beskrevet av Whitehead som en evig gjenstand, eller en ide En konseptuell følelse er i den forstand den abstrakte, ikke-subjektive og ikke-bevisste, ikke-kroppslige og ikke-fysiske, følelsen av en ide. Hvis, som fremført av Whitehead , disse konseptuelle følelsene har ingen henvisning til bestemte aktualiteter, eller til en bestemt faktisk verden, kan matematisk tenkning av ikke-aktualiserte data som følger med dataprogrammer, således lett å være ment som en form for ren konseptuell følelse. Dette betyr at myk tanke ikke bare stole på performativiteten til koden eller sin fysiske anvendelse på samme måte som for Whitehead tilsvarer hver konseptuell følelse, men skiller seg fra En fysisk følelse Snarere, og enda viktigere, er det algoritmiske prehension av numeriske data som abstrakte ideer, som det ikke er og kan være, det som ikke er blitt oppdatert ennå, men likevel er virkelig. Vi burde på dette tidspunkt gjenta at definisjonen av myk tanke vi vedtar her fører ikke til oppfatningen av algoritmer som en form for kognisjon hvorved programvare eller tanke nødvendigvis avhenger av de fysiske maskiner eller organer som den kjører på. Ifølge Andy Clarks teori om utvidet funksjonalisme, digitale algoritmer ta del av den utvidede, programvarelignende naturen i sinnet, hvor tanken er en syntaks som kan programmeres og kan kjøre på ethvert menneske eller digitalt objekt 6 I denne teorien betraktes digitale maskiner som bare utvidelser eller funksjonelle aktivatorer av hjernens programvare, med tanke hovedsakelig innrammet i en lukket syntaktisk form som uendelig kan omkonfigureres gjennom ulike organiske og uorganiske forlengelser. Fra dette synspunkt, mens vi deler med Den utvidede sinnshypotesen ideen om at tanken ikke er begrenset til den biologiske huden, vi forkaster syntaxmodellen til tanke og den forbindende ontologi som den er jordet på. Hvorfor skal digital algoritmisk behandling bare være en annen forekomst av en universell og forutbestemt tankegramme Og if cognition is like the software of sequential or parallel connections bearing upon any sort of machine, organic or inorganic, all intended as extended prostheses of the brain, can there ever be new modes of thought that can escape this mind model The point here is certainly not to reject the software model in toto, but to unlock the potentialities of thought beyond the limits of an enclosed grammar and of the bodily extensions by which this grammar is operated. On the other hand, whilst the hypothesis of the extended mind relegates thought to syntax and to the connectionist framework of a partes extra partes extended body, Varela and Thompson s theory of embodied cognition rejects the assumption that digital algorithms are cognitive extensions at all 7 Instead, they argue, thought is always already part of an affective environment of material, physical relations which primarily constitute and depend on lived experience This means that thought is an analogue process defined by relational qualities that cannot be reproduced by binary codes In short, cognition is not equivalent to a software program, but instead emerges out of a situated relation in the concrete world Whilst seemingly in opposition, what these two cognitive approaches would possibly agree on is that the aesthetic of software is not to be found in digital algorithms per se, but in the body, object, or hardware which sustains software as a mode of thought In other words, for both extended functionalism and embodied cognition, digital algorithms could only ever acquire an aesthetic value for them corresponding to aesthesis, as sensing or perceiving if and when they bear upon a material body Both approaches assume in fact that a physical body adds feeling to an otherwise mathematical, non-physical, and consequently non-aesthetic, thought This approach overlooks the possibility of engaging with the aesthetic proper of digital algorithms in code, without conceiving of them as simple representations of an analog experience For us, instead, the aesthetic of soft thought precisely implies that digital algorithms are autonomous, conceptual modes of thinking, a thinking that is always already a mode of feeling ordered in binary codes, and is not to be confused with sensing or perceiving Numerical processing is always a feeling, a simultaneously physical and conceptual mode of feeling data, p hysical in the actual operations of the hardware-software machine, conceptual in the grasp of numbers as virtualities or potentials. The aesthetic conception offered in this article will therefore aim at including numbers and quantities, instructions and programming, or those ideas that Whitehead would call eternal mathematical objects , pure potentials for actualisation 8 In this sense, the main question for us becomes how can numbers and quantities be an aesthetic mode of thought, without having to be primarily transduced into qualities These numerical data, we will also argue, do not simply represent a closed, computable and determined world but also constitute a virtual, incomputable dimension, with digital algorithms becoming the actual hosts of random incalculable quantities Instead of claiming that incomputability amounts to a surplus of information that digital systems cannot contain, we are instead interested in exploring how this incomputability always infects and to some exte nt constitutes the order of all data In other words, the aspect of soft thought that we would like to investigate here lies in this double articulation of digital processing, whereby the actual order of the digital system is infected with the virtuality of incomputable information A final, important point will thus be to conceptualize such incomputability as the potentiality or abstractness of all algorithmic code, that which distinguishes it from its material level and makes it into an aesthetic object in itself.1 Model and metamodel R Sie n s architectural project I ve heard about it A fat, flat, growing urban experiment 2005-6 is the computation of a urban space that does not yet exist, a software experiment drawing upon the dynamics of the auto-regulation of urban relations 9 Far from just designing the model or prototype of an actual city, this project is what Felix Guattari would define as a metamodel the mathematical prehension of a urban system that is simply relatable to the o rder of data structures, to the abstract dimension of numbers and their autonomous connections and disconnections, and which is neither driven by a pre-established logic nor by an external set of concrete influences I ve heard about it , therefore, is the metamodel of a city whose data architectures do not model an existing urban space but simply construct its order The project, in other words, has no references to predetermined ideas or to the concreteness of reality, but simply describes the conceptual prehension of an architecture of abstraction. I ve heard about a flat, fat, growing urban experiment , R Sie n Franois Roche, Stphanie Lavaux, Jean Navarro Benot Durandin. The notion of metamodel was used by Guattari to defy the assumption that models are closed and pre-determined formal systems, simulation-based patterns of recognition, or cultural, aesthetic and political schemas governing society 10 A model is usually considered to be a formal structure, a blueprint or a set of instru ctions that need to be concretely realized in order to unfold their full potential As opposed to this idea, a metamodel is not a blueprint Instead, the philosopher searched for diagrammatic relations that could challenge the closed hierarchy between models and facts, between the formal and the practical Whilst rejecting the notion of model qua representation or of prototype to be applied to reality, Guattari s notion of metamodel fully embraces the reality of form and abstraction, and suggests that thought is as real as any other thing. I ve heard about a flat, fat, growing urban experiment , R Sie n. The main example used by Guattari to clarify his concept of the metamodel draws from the virtual particles of contemporary theoretical physics, i e abstract entities that can only be theoretically thought and discovered through mathematics, rather than through empirical experimentation Not being directly detectable in the actual world, the metamodelling of particle physics goes beyond alrea dy determined probabilities and describes how the abstract processing of rules constructs its own cartographies, its own reference points, and thus its own analytic approach, its own analytic methodology, at the same time incessantly re-singularizing its own configurations 11 In this sense, it becomes clear how the notion of metamodelling was not developed to define a schema apt to social implementation At the same time however, it may also be reductive to suggest that metamodelling always already results from physical systems, whereby the model emerges from practice A metamodel, in fact, is a thought diagram whose signs and symbols show a propensity to prehend an abstract, alien world This means that modes of abstraction are not simply representations of reality, but are processual forms imbued with their own reality For this reason, metamodels enjoy a form of temporality subtracted from linear causality and can enter infinite, indeterminate modes of arranging data It is this very inf inity of mathematical possibilities that constitutes their aesthetic potential Describing the project I ve heard about as an example of metamodelling will thus help us to define the software programs used in digital architecture as soft modes of thought, numerical speculations whose aesthetic side relies not on their visual, perceptible interface but primarily on the abstractness of their conceptual algorithmic processing or prehension of data. It is crucial to remember that Guattari s concept of metamodelling challenges the priority of the empirical, by revealing how the code of mathematical signs has no physical objects as its referents, but constructs a reality that exceeds what is physically experienceable In the same way, computer algorithms not only describe the use of mathematical models to compute bio-physical realities, but more importantly announce the speculative power of soft thought, with metamodelling ready to design spaces that are not yet and may never be lived These alg orithms re-introduce the reality of architectures of abstraction, of virtual architectures irreducible to the reality of the actual, a metamodelling of computational experiments that imply a metamorphosis of abstraction, of thought and reason in themselves Here, software speculations are not simply models to be applied to physical constructions, but first of all they are aesthetic adventures of ideas, of mathematical eternal objects that can indeed follow and transform bio-physical structures, but without being engendered by them In I ve heard about this algorithmic architecture is but another instance of soft thought leading to new formalizations of spatio-temporal actualities. From this standpoint, I ve heard about is not a Platonic blueprint of a city ready to be implemented, executed or actualized Understood as a metamodel, I ve heard about shows that the logic of algorithmic instructions is not the mere static embodiment of an instrumental rationality, but becomes dynamic as number s automatically prehend themselves and the ideal, algorithmic city grows, extends and contracts beyond its initial conditions The algorithms of this city are therefore not primary instructions but are continuously re-programmed through their own coral-like growth, whose perceivable shape is constituted by recycled, synthesized and polymerized materials Rather than being conceivable as performative actants, or action-instructions, these growing algorithms do not just represent or simulate but make a city in themselves. It should at this point be mentioned that the algorithms of I ve heard about have been designed to get access to and quantify a series of data, such as 1 the external data of pre-existing urban morphology structural limits, natural light, the dimension of habitable cells 2 the internal data of the structure and of chemical elements e g physiological empathy, endocrinal secretions, bodily emissions of the inhabitants 3 the electronic processing of information and decision m aking All these data are then constructed into growth scripts and neighborhood protocols These biotopes 2 0 as R Sie n calls the protocols therefore include the contingency of physical data within their algorithmic design Conceptual prehensions, as Whitehead points out, are always accompanied by parallel physical prehensions It is the perishing of physical data that drives algorithms to build multiple, heterogeneous and contradictory scenarios In this sense, the relation with physical data structures makes finite algorithms become contingent, rather than infinitely regenerating, because it subjects them to the constraints of physical, chemical and electronic conditions In other words, the architecture is programmed to be affected by the entropic deterioration and dissipation of material data. It is therefore true to say that the performative and temporal qualities of algorithms are inevitably related to material data structures On the other hand, however, the open relation between algor ithms and data cannot be exclusively explained by this performative operability, as if algorithms were primarily doers or actants Of course algorithms are temporal engines for action and implementation but, we want to argue, this is only one side of the coin On the other side, the reason why algorithms continue to animate software culture is because they are and remain not only activators and executors of physical realities, or models of the temporal evolution of these realities, but also because they are ideal, conceptual elaborations of pure potentials What we propose here is, in other words, to consider algorithms as having not only a physical but also an abstract pole It is important to warn readers that this extra , ideal layer of computation is not to be intended as a supracognitive, transcendent order or just another face of idealism rooted in human thought To the contrary, what we mean by pure potentials is that the formal logic of algorithms is always inherently incomplete and infected with uncertainties In other words, this logic does not need to be extrinsically disrupted as is the case with glitch art or with the ingression of physical contingency in algorithmic structures , but is inherently exposed to that intrinsic incompleteness which it tries to order and organize If data are understandable as indeterminate quantities, it is not simply because of the arbitrary appearance of contingencies and errors A simple gesture of the external intervention of chance into a formalism could never suffice to explain how soft thought can become an instance of something that thinks, of something that shows the unpredictable indeterminateness of thought, and that is not merely reducible to the thought thing 12.The metamodel in I ve heard about points to a mathematical mode of thought proper to machines The urban space is in fact actually constructed by a secretion machine or VIAB standing for viability made of nanoreceptacles, psychochemical receptors of data secreted by human and nonhuman inhabitants, and of mutating algorithms The very processing of the material deploys the machine as a thought-thing coinciding neither with a subject thinking nor with a thought object The VIAB is not a subject that enacts thought in order to make sense of the world It is instead an instance of thinking procedures that are machines in themselves As Whitehead says with specific reference to algebraic symbols , it is not human subjects that think through symbols, but the symbolic operations of algebra do the thinking for us 13 n some ways, these symbols are different to those of ordinary language, because the manipulation of the algebraical symbols does your reasoning for you, provided that you keep to the algebraic rules See Alfred N Whitehead Symbolism Its Meaning and Effect Barbour-Page Lectures, University of Virginia, 1927, URL In the same way, the VIAB machine does not simply execute a task, but entertains its own algorithmic processing and in doing so it over comes the centrality of thought as based in thinking things 14 Things or machines do not think but are thought They do not simply host thought or become implementations of a predeterminate cognitive structure Rather, thought results from the modalities or the mannerism of the machine what thought becomes is how the machine thinks. From this standpoint, the VIAB machine cannot be said to be part of the environment of what Andy Clark calls an extended cognition This machine does not complement human thought and is not simply driven by universal codes running on any body The machine is its own thought, without having a supplementary dimension that grounds its cognitive structure From this standpoint, the thinking machine is not another instance of functionalism as it does not simply host a code that instructs it to work in a certain way In the core of the VIAB, fuzzy algorithms are prehended by an insect-like robot, a pneumatic articulated machine robotic muscle system knitting space whils t registering the rules of algorithmic change and prehending biochemical data By sieving and weaving, the machine creates a vertical structure, a three-string bunch each 5 cm in diameter wrapped around on itself, and uses a hybrid material bio-cement that agglutinates and coagulates chemically The tank loads the file describing the 3D morphology, and with its terminal devices works like a 3D printer This is not a swarm intelligence protocol, but rather a swarmoid , a protocol for a division of labor that is at once centralized and distributed, axiomatic and incomplete In other words, this protocol s axiomatic is challenged by its execution and at the same time each execution cannot simply perform the code but rather needs to transform it. This is how the VIAB deploys another mode of thought, which is aesthetic before being functional It is aesthetic because, above all, it deploys a mode of feeling data, a physical and a mental mode of elaborating on the information retrieved from the pr ogram and the environment As opposed to exclusively considering machine thought as an expression of a code that can run on it, machine thinking for us has also to account for the conceptual feeling that the VIAB machine itself has This means that the algorithms operating in and through the machine will not just operate on and through blind matter The conceptual mode of thinking here is intrinsic to the mode of the machine and cannot therefore be otherwise This means that the thought of the actual machine is not simply an execution of instructions, but has become autonomous and develops its own algorithmic modalities, where the sequence of instructions changes according to the way the machine orders data This means that the machine thinks beyond the formal level of instructions, and also beyond the empirical data it gathers from the environment The closest thing to a VIAB machine perhaps is a small mud-working robot invented by Behrokh Khoshnevis, a contour crafter working more or less like a 3-D printer 15 Contour crafting however is a job that termites have been doing for eons, building skyscrapers by spitting and smoothing mud. The VIAB is indeed a busy termite with a body full of wet cement and instructions Its machinic parts are data and procedures, infinite and finite sets that cannot be synthesized into a coherent, fixed and finished whole The actual VIAB therefore is not a mere implementation of generative algorithms Since the model is always of a secondary order compared to the diagrammatic constellations of a metamodel, the VIAB machine is yet another instance of a body able to think beyond its physical constraints But to understand how this machine could think beyond what it already is, one may need to turn to Whiteheads notion of the eternal object This notion directly addresses the impalpable reality of ideas, which according to Whitehead are prehended by each and any actual entity In particular, the notion of ideas offered here will also help us to disti nguish this mode of machine-thought from the framework of extended cognition, according to which thought is always already an extension of what the mind and its subset of the operations of the brain do In fact, extended cognition does not succeed in making or explaining such a difference and leaves us thinking that despite their alien nature, machines are just another instance of a mindware operating a hardware Instead, we want to probe the possibility and take seriously the challenge that Whitehead s philosophy poses that actual entities no matter how small and how inorganic have their own physical and mental pole Actual entities like the VIAB machine are not set to think but rather are their own thinking, whilst they physically and conceptually prehend things and ideas.2 Choreographic calculations Synchronous Objects for One flat Thing, reproduced is a choreographic website created by the William Forsythe Dance Company in collaboration with the Ohio State University s Department of D ance and its Advanced Computing Center for the Arts and Design ACCAD The main aim of the website is to visualize and re-animate the choreographic data of the performance One Flat Thing, reproduced in new ways Here, the conjunction of visualization and reanimation seems to coincide with the very process of thinking how else, the project seems to ask, can the movements of a dance be thought. The online platform was realized with the aid of several mapping technologies various image processing, computer vision, 3D computer graphics and interactive software were then deployed to explore the mapped data, and to systematically formalize the components of the choreographic system The performance cueing system, for instance, defined by Forsythe as an internal clock of aural or visual signals given and received by the dancers to trigger and organize the dance event , was mapped as a score of interconnected points in 3D space This and many other abstract diagrams of dance information about the cu es, but also about the alignments, the directionalities of corresponding flows, the analogous shapes of body movements, the related timings were translated into algorithms On their turn, these algorithms were used to determine results and effects in other performative modalities such as the modeling and milling of fabricated architectural objects by a machine instructed to follow the shape of a particular motion We can thus describe the Synchronous Objects project as another example of code aesthetics working according to the dynamics of soft thought, i e a level of conceptual prehension of numerical potentials going beyond the polarization between algorithms as sequential arrays of codes, and the visual effects generated by them In this project, it is in fact possible to distinguish, along the lines of Whitehead s philosophy, two kinds of potentiality that invest the actual entities of the code the abstract pure potential of numbers as ideas, and a real potential , the potential of ea ch actual occasion or each Synchronous Object to become the datum of another occasion, in the actual processing of the software Let us start with a description of the latter. From an empirical point of view, extensive subdivisions quantities, measures and their related algorithms and perspectival relations points and lines constitute, in the website, a dimension of real potential of the actual entities movements that are part of the One Flat Thing, reproduced dance The presentational immediacy of computer graphics illustrates each of these mapped and quantified subdivisions of the dance as a visible slice of space-time, a duration that is objectified or made into a perceivable object Through the presentation of multiple objects, the website not only describes a way to precisely quantify and clearly illustrate the divided choreographic structures of the performance, but it also implies the repurposing of this information about its concrete, physical and material possibilities in other fi elds If the actual synchronous objects atomize the performance continuum into as many annotated regions, quanta of visualization, threads, choreographic wholes and parts , these atoms also exhibit a mathematical relationality which corresponds to the automated dimension of software, and at the same time transforms them into real movement potentials, potentials of the movement to acquire infinite visible forms. Adopting Nigel Thrift s terminology, we can define this potential of algorithmic objectification of a dance as obeying the new calculative background that is coming into existence in our times, a background that will both guide and constitute what counts as thinking 16 Differently from the theory of extended cognition, what Thrift seems to suggest is that the contemporary version of thought what counts as thought is a form of mindware or the softwarization of the mind that needs to be addressed as a form of qualculation , the latter being defined by the emerging of repetitive patt erns, a background of continuous and ubiquitous calculations that characterizes the social and material environment today Significantly for our choreographic example, these calculations end up producing new perceptions of space and time, or a new sensorium Calculation or qualculation , in short, is the way in which thought results from those material habituations the repetitive algorithms of matter, repetitive habits that allow all bodies to find their way or become oriented in space-time Instead of an extended software thought running on material bodies, here we have a form of thought emerging from the iterative patterns and calculations of matter itself, suggesting a productive and constructivist notion of thought that does not describe but produces nature as it builds a constrained, ordered, objectified world From this point of view, the linear causality of sequential algorithms shows that thinking is the same as tracing a grid in space-time As already illustrated with the example o f the VIAB machine and its material processing of data, actual occasions always include a physical dimension or pole that is, in this case, identifiable with the linear sequencing of space and time operated by the choreographic software This capacity for ordering allows for what would be defined, in Thrift s words, as the construction of a new spatial awareness, a possibility for the body to re-orient itself and therefore develop new thinking modalities It is by materially changing this level of bodily thinking that choreographic software thus realizes its material pole as an actual occasion of movement experience. In the same way, we could say that the dance, One Flat Thing, reproduced of the website is not to be thought as a simple reproduction, or simulation, but as a calculated nexus of events, or what Whitehead would define as an objectified set of data, a series of units of historic fact such as the points mapped in the scores , or pulsations 0s and 1s transmitted from occasion to occasion The data is calculated by weaving a relation between what has been in the past, but also what might have been, and what might be in the future a dance step, a graphic 3D form, a piece of furniture The data is always actual, and its potential is always a real possibility, a way for the body to think of its movements and find its way, or to orient itself in the performative space-time Following the logic of cause and effect, the pulsed transmission of data in a liner fashion, the counting qualculation from past to present to future connotes the working of digital algorithms as habitual and diachronic, restricted to a physical and compulsory level the physical nature of the program The computer is not a mindware running on bodies, but instead operates and thinks in the same repetitive fashion of physical, inorganic, inert matter, pointing towards a physical conception of digital binary processing, whereby cognition as computation involves not the syntax of data but its simple re petitive patterning. For Thrift, as well as in Synchronous Objects , the flux of numerical sequences derived from the mapping of the physical performance gives way to new qualities and intensities Qualculations are therefore not simple descriptions of movements in space-time, but they also imply a construction of new qualities emerging from the very process of quantification, such as new ways to become oriented in space-time or to perceive the dance But what about the novelty of the project Is this novelty merely definable as a real potential, i e as a new way to sense space-time In Thrift s conception, open-endedness and the possibility of novelty are always the results of a fine grid of calculations, as if a carefully constructed absolute space could beget a relative space Or as if novelties were prosthetic objects created by, and supporting, cognition, the latter only intended here as automatic navigation As an example of this creation, we can look at the ubiquitous presence of track ing and mapping systems in our world, and the becoming provisional or temporary of our spatial coordination From this point of view, a new elasticity of synchronicity appears as the qualitative product, and nourishment, of our technological tools of mapping and synchronization It is quantification that allows for new qualities new sensings of space-time to emerge It is indeed possible, to agree with Thrift, to define the contemporary version of thought as part of an era of qualculability The problem is that, in order to become really open to the new , calculations cannot be reduced to mere extensions of material patterns, nor can they be simply accounted for in relation to their emerging effects For us, once again, neither the linear causality of sequential algorithms nor the perceptual qualities generated by them can suffice to explain the particular novelty of soft thought.3 Eternal synchronous objects We should at this point reiterate that the main aim of the Synchronous Objects pro ject is to compress the performative complexity of the dance, as an intricate composition of contrapuntal movements, into a number of discrete objects charts, maps, scores, and then animations, graphics, computer applications that not only visualize, but simultaneously transduce and re-animate the complexity of the dance elsewhere In this sense, the objects are meant to act as vectorial operators, transferring the relational potential of the dance to different fields, from dance notation to music or architecture, statistics or geography Every object becomes, in this sense, a model of the dance. Cognitivist Alva Noe was one of the collaborators of this project According to Noe, we are a tool-using animal We make tools to extend our bodies, but also, in line with the extended cognition theory, tools to extend our minds such as mathematical notations for performing calculations From this very McLuhanesque point of view, the model is also a tool, a very functional one The weather bureau mod els a storm system in the hopes of predicting the storm s behavior Synchronous Objects is a model of the physical dance, it is an instrument for thinking about this complex, very difficult to understand or to clearly visualize, choreographic structure of cueing relationships, alignments, movement themes , by translating it to parallel fields In the end, if the model-tool is effective, it will help the audience and also the dancers and the choreographer to obtain a clear view of the complex whole This assumption seems to confine Synchronous Objects to a very restrictive domain that of the model as an instrumental, explicative tool But there is one point where Noe s discourse becomes more interesting for one thing to model another, he says, this thing must exhibit something like the complexity, or all the possibilities, of that which it models A map, for example, in relation to the city it describes This means it is always possible to get lost in our maps, or in our models And it also me ans that our models become objects of inquiry in their own right If Synchronous Objects is successful, then it is likely to command our interest and attention in its own right This conception resonates with Guattari s notion of metamodelling Metamodels alienate us by building complexity, instead of serving us by making it more accessible for Guattari, as we have seen, their true value lies exactly in their capacity to do without their material counterpart, their factual origin or aim More like Forsythe s objects without a body , rather than simple tools. A question seems now to emerge how can the almost infinite reproduction of the dance as an abstract algorithmic pattern become something new, something more than a repetitive digital model Or, in other words, How can the future avoid being predetermined by the past or by the relentless chain of causes and effects How is it possible, in the world described for us by computer science, for anything genuinely new to emerge 17 In Steven Shav iro s reading of Whitehead, the appearance of the new takes the form of an interruption of the continuous chain between past and future a cut where past data are valued and particular ideas are selected in every occasion of experience, in order to determine what the future occasion will be It is not so important to determine the essential nature of this cut be it material, organic, human, atomic What is important is to highlight how the novelty-bringing cut always happens as an ingression of what Whitehead defines as pure rather than real potentials or eternal objects 18 Pure potentials are nothing else than virtual ideas and yet, with all their abstraction, they add definiteness to existing data and relations between data rather than simply introducing new data or relations , functioning as principles of individuation for upcoming occasions The cut of an idea is therefore conceptually prehended or non-sensorially felt as the novelty of definiteness the making-definite of something tha t was already existing in the inherited data but not with that particular definition i e something that was merely a real potential The list of eternal objects, ideas or pure potentials can be infinite, including not only qualities, but also such things as patterns, or numbers one-ness, two-ness, three-ness, the square root of minus two , or Omega , and also metric ideas such as counterpoint Ideas bringing forth the definite mathematical character of an occasion, or ways in which the occasion can be cut and re-glued from the totality of actual preexisting data. In the dance performance, counterpoint, for example, appears as a structural form of dialogue, a rhythm of alternation coinciding with the pure and definite potentiality of an eternal object Counterpoint therefore is simply an indeterminate idea of accord which can be realized in infinite ways and can also be conceived as a mathematical quantification In Synchronous Objects , counterpoint takes the form of various algorithmic cho reographic objects such as, for instance, alignment the synchronization of two or more dancers, differently actualisable as a spatial, temporal, or directional accord Conceivable as a mathematical pattern in space-time and simultaneously as a set of 0s and 1s , alignment is the result of an idea This idea counterpoint enters the choreographic score and transforms the mapped set of performative data into a definite occasion with a precise individual construction in form and timing the Alignment Annotations object, a visual illustration of the alignments on screen, in the form of various graphic shapes and volumes. We are therefore, at this point, clearly already on a different aesthetic dimension from that of the live, concrete performance event, and it is important to bear this in mind The technological transposition of the dance and the quantification and collection of data become here a way to emphasize the ordered and clear aspects of movement the annotation of the alignments as shor t instances of synchronization between the dancers, the annotation of the cues where the cueing system of the dance unfolds in a rapidly shifting network of relationships, the indexing of the movement themes that serve as building blocks of the motion In other words, the extensive, algorithmic structure of the dance, more than its qualitative nuances, exposes organization and order as parallel aesthetic aspects of creation that can often go unnoticed live The capacity to abstract the organic, or living, sensations of movement as different from readable understandability and its related feelings is certainly not the technology s main strength, and perhaps this is not what we should look for in its manifestations What emerges, instead, is a different rhythmic aspect associated with the aesthetics of soft thought alignment, cues, the order of the themes, as feelings or conceptual feelings in themselves What appears is the infinite divisibility of choreography into autonomous patterns doub led by an infinite possibility of actualization by each structural object the theme of a dance can become a dance of graphic shapes, a 3-D object, a diagram, and allow an abstract re-thinking of the choreography even without the intervention of the physicality of a body At the same time, without transforming the choreographic composition into a sort of Platonic realm of transcendent mathematical ideals hylomorphically imposed on the movement material, the quantitative nature of ideas weaves a parallel abstract dance, or a movement of soft thought.4 The indeterminacy of soft thought Rather then being a simple thinking-machine, R Sie n s VIAB incarnates the machine-like nature of thinking procedures This is why we agree with the critique of the autopoietic model of cognition qua sense-making and, in particular, against the autopoietic assumption that thought is always already enacted by living organisms 19 Following the autopoietic model, Varela and Thompson used the notion of enactivism to challenge the idea that cognition is a representation of the external world given by pre-set symbols Against the legacy of computationalism, according to which cognition is reducible to a physical symbol system or a mental process carried out by the manipulation of symbolic representations in the brain, Varela and Thompson argued that cognition is instead embedded in the world In particular, cognition is the enactment of a world and a mind on the basis of a history of the variety of actions that a being in the world performs 20 By rejecting computationalism in its cognitivist and connectionist forms, the second-order cybernetic approach to the problem of the mind, as articulated by Varela and Thompson, was more directly concerned with the relation between cognitive processes and the world, including the brain, its relationship to the living body and the environment Varela and Thompson proposed an enactive approach to explain that c ognitive structures and processes emerge from recu rrent sensorimotor patterns of perception and action 21 In other words, cognition is not equivalent to a form of information processing that is able to run on any system, but emerges out of the performing activities of being in the world From this standpoint, enactivism explains interaction as the effect of the environment on the brain the environment triggers cognition to productively respond and thus enact a world Cognition therefore cannot be programmed since it remains a question of affective consciousness and experience. Whilst Varela and Thompson s concept of enaction described above is insufficient to explain the kind of soft thinking we are discussing here, we also want to highlight that the critique of computation as a form of cognition, a critique shared by both enactivism and extended functionalism, too quickly dismisses the capacity of information-processing to account for contingencies the example often mentioned here is that of traffic controllers, where computers are unab le to calculate extra and contingent factors in urban traffic 22 For extended functionalism, the formal level of algorithms always needs a material environment onto which to distribute and establish a relation 23 According to Clark, this relation extends or transforms the interior apparatus of neural architecture human cognition , hence producing novelty in the extended architecture of the brain 24 As Clark argues, the very activity of bodily spatio-temporal orientation is what drives the development and evolution of inner states of cognition additional memory and new capacities of symbol manipulation, new forms of communication, interaction, and digital computation Here, the architecture of thought is no longer internal to the human brain, but the latter has become spatially extended onto the world Such a global brain in Clark s view derives from the co-evolutive relation between brain and environment, where the techno-extension of cognition determines what thought can do beyond-the-s kin 25 Nevertheless, as Clark maintains, for cognition to work it needs a physical ground on which to operate In other words, whilst enactivism argues for a mind which is generated from the interaction between elements in the environment, extended cognition posits the primary function of thought in terms of a minimal Cartesianism, according to which the mind exists before the body This is why we find that extended functionalism is unable to radically engage with cognition in its own code Extended functionalism, we argue, explains the relation between mental and physical poles merely in terms of a linear causality, whereby mental states are triggered by and bear upon systemic inputs and outputs Thus, whilst we agree with its critique against the autopoietic explanation of cognition, we also find it difficult to see how extended functionalism could seriously challenge formal structures of cognition, or explain novel forms of thought beyond a mere pragmatics of functionality that always a lready needs a material ground on which to run If algorithmic thought is more than the biological brain, then it has to be defined according to its own reality, however abstract this may be The metamodels of I ve heard about and Synchronous Objects are machine-thoughts that disentangle the power of computation from pre-programmed instructions and, perhaps unfashionably, do not support the idea that material extensions change the internal structures of cognition In fact, we want to emphasise that the main limit of computation is not its incapacity to include material contingencies Quite the opposite, computation, or the formal architecture of algorithms, only remains limited to a closed formalism if one does not take into consideration how algorithms themselves tend towards abstraction, infinity, or the reality of the incomputable. Novelty is already internal to computation, to the extent that, as Turing already envisaged, the limit of computation, or the infinite potential sequence of l ogical symbols and interpretation is the very condition by which algorithmic finite rules can be established Thus, algorithms are not only actions or pragmatic functions but also, as Deleuze may call them, suspensions of action or forms of contemplation of this infinity 26 These suspensions correspond to the infinite discontinuities that algorithms encounter in the processing of binary unit sequences, as these are always prehensions or captures of the incomputable data haunting their own precise sequencing It could be argued that these forms of contemplation may appear as glitches internal to the operational functions of the system In fact, the conceptual prehension that algorithms have of infinite quantities of data does not interrupt the digital operation but rather allows it to happen In other words, whilst algorithms carry out the functions of processing, they are also conceptual prehensions of what lies at the limit of computation an infinite amount of random non-compressible data In this sense, algorithms are forms of contemplation, conceptual prehensions of incomputable information It is important to point out again that such suspensions do not correspond to blockages but to the abstract passions of algorithmic thought, or the way in which ideas enter actual computational occasions These forms of algorithmic contemplation imply the impossibility to reduce processing to mere axiomatic formulas Even the most reductive of axioms cannot but enter a field of data infecting them with their alien, infinite logic, whilst deploying a sort of xenogenesis of information within the sequential order of rules. This conception might easily seem relatable to Deleuze s notion of contemplation In fact, rather than being connected to a vortex of qualities and bodily sensations populating the space between action and reaction as in Deleuze s concept , soft thought also, and necessarily, involves a more abstract engagement with the mathematical reality of indeterminate quantities For this reason, we prefer to push the notion of contemplation towards Whitehead s emphasis on conceptual prehensions, so as to describe how algorithmic thought is infected with incomputable data, eternal objects which can be thought of as infinite series of indeterminate mathematical ideas or pure numerical potentials From this standpoint, we suggest that these indeterminate ideas are incomputable series of 0s and 1s which enter algorithmic sets to constitute a conceptual event ideas are introduced in every actual construction of code through conceptual feelings, marking the aesthetic character of software thought This means that the computational limit does not simply reveal the failure of quantifications, divisions, partitions in attending novelty On the contrary, this failure is mainly a symptom of the real presence of random quantities, which cannot be reduced to what is always already axiomatized This is why the philosophical question posed to the digital finds its true counterpa rt in aesthetics, or in the limit of the binary code as the point at which the infinity of data is revealed. Bringing speculation into computer science, Omega, a discrete infinity of real numbers, as Gregory Chaitin defines it, explains how uncompressible quantities enter the sequential order of 0s and 1s at the limit of computation 27 In the same way, in R Sie n s I ve heard about it, the use of protocols of incertitude i e protocols that include incompletion and indetermination in their structure and the re-scripting of source codes creates an aesthetics driven by the algorithmic prehensions of indeterminate quantities Here, software becomes infected by algorithmic aesthetics, and the automated process establishes a relation with its limit, remaining abducted by the indeterminate quantities that it implies but cannot compress If, on the one hand, the contemporary city is usually still formatted under Windows-cogito, foreclosing access to the programming of source codes, the use of ope n-source software scripts in I ve heard about invites incompleteness in the axiomatics of urban planning This is why R Sie n s meta-model project is not a model of a city, but places indeterminate quantities of data at the core of the source code of the city itself 28 To open the source code is to unlock cogito from functional cognition and to reveal an aesthetics of soft thought, whereby software operations are also, and significantly for us, conceptual prehensions of pure potentialities, eternal objects or infinite ideas passing through thousands of thinking entities At the same time, the indeterminacy and incompleteness of the code is not principally given by the fact that R Sie n use open software to design this urban structure More important for us is that the protocols have been designed as incomplete forms of instructions that do not simply face physical variables and contingencies, but, above all, the more abstract architecture of an algorithmic infinity In this sense, the sour ce code is not just shared, but is open towards the very limits of computation, where data architectures have become hosts of an incomputable amount of junk data Here the limit of computation is rather an opportunity for posing the existence of an automated thought thinking beyond its axiomatic form The incomputable quantity of junk data indeed refers to data without pattern, chaotic and random, pressing against the sequential function of computation In other words, openness is intrinsic to the calculation of ideas. In the same way, for its interdisciplinary openness, the Synchronous Objects website could be described as an example of open source choreography, a creative resource to explore space, movement, and the movement-space composition through the constant interrelation between parallel fields and disciplines the website itself appears, in other words, as a generative tool 29 The resonance of this definition with Forsythe s own choreographic technique, and particularly with the cr eative methodological and conceptual aims of the Synchronous Objects website, seems obvious to use choreographic data and dance ideas as initial models to catalyze new creativity and generate a myriad of other manifestations of structure At the same time, it is important to remember how it is the ingression of quantitative and yet indeterminate ideas such as counterpoint in the choreographic process of Synchronous Objects for One flat thing, reproduced , that determines the aesthetics of soft thought Being a pure indeterminate, such as Omega itself, counterpoint is certainly not determined by a preexisting level of precise human decision-making or automatic algorithmic functioning It is only is already realized form as a precise and particular alignment, that responds to these On the other hand, it is certainly not a Platonic conception of inspiration, an intellectualization of practice, that we are suggesting here To the contrary, what we are arguing is that it is the very capacity of software as first of all a prehension of abstract mathematical ideas to be not only ubiquitous but also able to articulate different spatio-temporal configurations in a bodily movement or a whole city.5 A germ of conclusion towards the capitalization of soft thought We will now conclude this article by reiterating that the aesthetics of soft thought does not necessarily have to pass through the dysfunctionality of the glitch and its generative effects, or through the affective interaction between body and technology It has been extensively argued, in many accounts of digital art, as well as in the architectural and choreographic envisioning of algorithmic relations, that the quantitative nature of digital code can indeed unleash signs of aliveness, but only thanks to the capacity of perception to transform a series of bits into a folding of qualities and sensations the intensity of a dance, the texturality and habitability of a building Contrary to this approach, the aim of this artic le has been to argue that, rather than having to follow the causality of sensorial and perceptual effects, complex algorithmic or quantitative ideas, such as the binary infinity of Omega implicit in every computational process, or the indeterminate rhythmicity of counterpoint present in every choreographic process, already imply an aesthetics of soft thought These indeterminate mathematical ideas constitute in fact a level of conceptual feelings, or prehensions, through which algorithms open themselves to the openness and randomness of thought. At this point, we would like to highlight here a possible germ for future thought, by stressing how soft thought does not simply point towards creative openness, but also involves a new aesthetics of power which capitalizes on the capacities of rules and variables to prehend new ideas As recent debates on pre-emptive power have suggested, cognitive capitalism does not simply operate on the realm of possibilities, but forecloses the realm of poten tialities to packaged possibilities, whilst capitalizing on thinking processes themselves 30 As much as automated thoughts have the power to transform data into a meta-software where all processing is possible , such as for with instance Lev Manovich s idea of media as a subset of software, 31 the ingression of indeterminate potentials in calculating procedures has turned pre-emptive power into a metamodel for the speculative programming of novelties A power, in other words, exercised through the aesthetics of soft thought. 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