Fetish-Numbers by Marie de Sade, Dr. Olaf Hoffmann (e book reader for pc .TXT) 📕

Graphics contained in this book, on the other hand, can be understood more as vivid metaphors or parables for encryption. These graphics are based on simple forms, strokes, which are distorted, deformed, dissolved by filters, whereby an impression of complexity appears. A look into the source code reveals the relative simplicity of their creation. Few used filters use a fractal or turbulent noise as a starting point for distortions or deformations.

Various distortions, noises are applied to a simple, originally round, flat background as well as to simple curves or simple elliptical spots in the foreground. This produces a high degree of abstraction, which may occasionally resemble the application of paint in action painting, splattering, dripping or shaking of Abstract Expressionism, but is produced in a completely different way. It is therefore neither an imitation nor a variation of such works by Paul Jackson Pollock or many other artists; the approach is quite different, and in most cases the result as well. There is, however, a strong similarity in the automatism that is adopted in the digital case of scripts.

These simple forms represent a message, those filters represent the algorithm, a few filter parameters represent the keys used. This comparison is somewhat skewed because it is by no means certain that such a mapping is reversible.

If pixel images were generated from the graphics, the original message, algorithm and keys would be hidden from the viewer, so reconstructing a message would be a complex problem. In the above metaphor, such a pixel image would therefore correspond to a transmitted, encrypted message.

In abstract literature, however, an association with cryptography is obvious anyway. Coded text is presented to the audience. What part of it is aesthetic noise, where and how information is encrypted in it, remains unknown, uncertain, an attempt at cryptanalysis would be costly, if only because of the volume of the text.

Where is the Information?

Taking these Fetish-Numbers as an example, the question arises, where in it the information is hidden.
What does the encryption consist of?
Which part is information, which is noise?
Which of these is mere obfuscation, which, on the other hand, has been properly encrypted with a cryptographic procedure?
With which key, which method decoding has to take place, if this work contains more than the title promises: Fetish-Numbers.

Information could be in the numbers, the words, the sentences, the spaces, the punctuation marks, in the number of characters or words per paragraph, in the number of paragraphs per section or chapter. There are numerous other possibilities, for example, that coded information only becomes apparent when the work is subjected to extensive statistical analysis, after which specific statistical data is presented in a special way that is suitable for graphic display.
Information could also be in semantics, text markup, structure.
Or is the sought-after information in the graphics, which were so plausibly trivialised in the previous section, just to distract from them?

The secret is the attraction, solved problems are no longer problems, understood phenomena quickly become boring, because they have lost their brittle closedness, unaffectedness. At the stage of a complete exposition, exposure, a kind of fetishism is needed to keep the fascination and excitement of such acts on a high level. Only detailed, longer occupation with the Fetish-Numbers can ensure that a fetish develops with the analysts, this astonishing fixation on a certain unsolved problem, an unsolved secret, when the universe contains so many of them. The coded fetish or the fetish of coding makes numbers that have been examined at some point appear alive, makes them dance, everything seems to be hidden in them as a hidden message, brittlely hiding from conquest.

To stay with the obvious: Who would ever have completely seen through, decoded, deciphered, disenchanted, disenchanted with himself, his relatives, friends and acquaintances?
Even here it is rather habituation, often dullness, which does not allow us to recognise the secrets of our own immediate existence. In every heap of atoms, molecules in front of one's own nose there can be more secrets hidden than could ever be revealed and explained in a single book. Thus we stand at any moment directly at the abyss of the unknown, unexplored, misunderstood, even in a macro-world, which has long since been manipulated, simplified, reduced, made practicable, tamed by humans. The world, however, remains unwieldy and cannot be decoded as easily as a simple coded message. Moreover, it too hides many of its secrets very efficiently behind a mountain of apparent noise, trivialities – at least with regard to those little things that are being researched, searched for, in order to give these little things meaning, to interpret them as useful.

Basically, the world does not lose if one of its secrets is revealed. However, it loses quickly when people on a large scale try to apply these insights to simplify their environment in short and small ways, to make it more practical to handle, to make it more useful to themselves. To live, to survive, to be free is not wrong. However, if this unravelling of the world is at the expense of all those living in the world, it becomes unacceptable, irresponsible. The harmless game of knowledge, revelation, exploration becomes dangerous when the use of knowledge, messages is destroyed by the actors' limitation, stupidity, and lack of understanding of their own bases of life of their own kind, their entire biosphere.
At these critical points those fetish numbers of economic growth, speculation, fantasies, money fetish, commodity fetish, capital fetish clearly exceed any limit of the acceptable.

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