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September 25, 2007

(a tasting) LADDER SYSTEM OF THE POAM AS ECOSYSTEM

LADDER SYSTEM OF THE POAM AS FACTORY

LADDER SYSTEM OF THE POAM AS ORGANISM

LADDER SYSTEM OF THE POAM AS ENGINE

LADDER SYSTEM OF THE POAM AS FRUIT

LADDER SYSTEM OF THE POAM AS GAME

LADDER SYSTEM OF THE POAM AS STRING

LADDER SYSTEM OF THE POAM AS SUBWAY

LADDER SYSTEM OF THE POAN AS ELEVATOR

LADDER SYSTEM OF THE POAM AS VORTEX

LADDER SYSTEM OF THE POAM AS SANDWICH

LADDER SYSTEM OF THE POAM AS STUDY OF INFINITY


(Relativity --an infinite ladder / lattice system by MC Escher)

etcetera

_____________________________________________________________________________________

ladder systems of the poam as ecosystems

ladder systems of the poam as factories

ladder systems of the poam as organisms

ladder systems of the poam as engines

ladder systems of the poam as fruits

ladder systems of the poam as games

ladder systems of the poam as strings

ladder systems of the poam as subways

ladder systems of the poam as elevators

ladder systems of the poam as vortices

ladder systems of the poam as sandwiches

ladder systems of the poam as studies of infinities

ETCETERA

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(in pursuit of) HIERARCHIES OF TETHERING [a planned pitstop for assessing attempts to ride at least 3 systems of ladders and/or other iterations of lattices)

Coming Soon
more details about this planned pitstop
(as the tethers blossom)

The (systems of) ladders that you will ride will be of (at least) two generalized forms, existing (to some degree) and (systems of) laddders that you construct.

Part of a purpose for these systems of ladders is to generate and operate methods of (attempts) to hold something together (such as investigations of poam systems) for some period (or periods) of time. The methods of tethering (a form also of stitching) may be (very generalized forms) coherent, incoherent, (shifting) composites.

Validity will be established via a companion vehicle to the pursuit of HIERARCHIES OF TETHERING: articulations of your rationale(s) (that shape, provide context and focus for the ride(s), journey(s).

The riding of (at least 3) systems of ladders may be parallel, curved, skewed, warped, looping, multi-dimensional, linear, folded, bent, stable, unstable —select from the gamut of possibilities (shaped by consequences of the initial gestures you make).

The 3 rides will include (you must provide, according to some rationale, the shape[s] and structure[s]) attempts to board and navigate investigative ladder systems that embrace these very generalized categories:

FORMAL
INFORMAL
(sub-category [an example]: experimental)
INNOVATIVE (sub-category [an example]: experimental)

**Note that the personal is not necessarily excluded from any of these categories. Nor should it be assumed that the categories themselves do not/cannot overlap, interact (in any of the possible [you define and articulate the rationale you —attempt to— use in determining what is/isn't possible] ways that interactions do/have/will/can/used to occur.**

The hierarchies themselves establish a (or multiple) logic(s) as the journey unfolds.
They provide means of monitoring and generating reasons/ways/consequences of the order of the events in the interactions and intersections with the ladders.

Interactions and intersections within the structures of poam system(s).
Interactions and intersections that occur as you interact with elements of poam system(s)


The ladders function (also, perhaps, in some cases, primarily) as (forms of) scaffolding.

Ladders are Poams and systems of poams.
When/where/how/why are you boarding the ladders that are being boarded?

Tine Heads ( study in forked scaffolding systems of enclosure known officially as Bond of Union by M.C. Escher; image from M.C. Escher.com)
(image alternately known as Bandage Tine Lattice Bridge System in Limited Fork terms)
____________________________________


**The poam(s) considered for the documentation of the hierachies should provide means for you to ride a range of hierachical vehicles. Some of the documentation derives from the hierachy of how the poam is experienced (according to parameters of entry and exploration that you determine, that you examine —you are encouraged to think about systems of rules and systems of [resulting] meanings. By what is your thinking dominated? Etc.).**

Think of the (systems) of each poam as a system of ladders.
Ladders within ladders.
Each element of the poam as a (system) of ladder.

Vocabularies of the FORMAL, INFORMAL, and INNOVATIVE hierarchical vehicles will be provided (some in fulfillment of general requirements of English 240 classes), but do take care to pursue how (and why) authority of validity and ranking of hierarchies are established, challenged, threatened, maintained, abandoned, changed, misunderstood (in various contexts). You are invited to extend any of these vocabularies with your own terms (feel free to create them) that help establish/convey/identify/clarify the rationale(s) of your rides.

Please enjoy the rides!
Or: Please enjoy the pimping of vehicles of Ladder systems

(Do any of you watch Pimp My Ride? (in which the reconfiguration of cars is also form of poam (products of acts of making.

_____________________________ ____________________________ _________________________ ____________

The HIERARCHIES are also maps.
To ride is to map (something)

(possibly including dead ends —do perform autopsies).

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small notes on VISUAL DOMINATION & Rules of Configuration

(My) eyes have been collecting information throughout my life; that activity has not been discontinued although myopia has increasingly prevailed

(my need for corrective lenses emerged in trigonometry; click on The Magnificent Culture of Myopia to experience forms of blossoming in a poam's powers of ten systems rooted in poor eyesight. The Magnificent Culture of Myopia is also available in print form in Tokyo Butter)

and myopia continues to reconfigure visual perception (and through the visual, the myopia influences other sensory processing that tends to be, when the visual is available, subordinate to vision, secondary to visual cues).

There is another reconfiguration at work. Within a context of visual domination, the reconfiguration of poetry as a complex system, a reconfiguration whose outcome is an evolving (or blossoming) Limited Fork Poetics: the study of interacting language systems (which includes all visual, sonic, olfactory and tactile systems on all scales)

has reconfigured the shape/structure/context of my visual domination.

I seek evidence of interaction.

I collect evidence of visual, sonic, and tactile interaction, with the bulk of the collection visually dominated. The olfactory is so far included as an intention to collect smells, a mandate of the Limited Fork theory itself.

Which sensory tethers does the word collection evoke/activate in you?

I was interviewed by Richard Siken for a series of articles about poets who collect; most collected objects, all interviewed collected things with visual aspects though mine were all representations of interactions, images of reflections and shadows. The items in my collection were not directly tactile although the printed image is an object —it's just that none of mine were printed. The SD card was tactile enough, however. Even so, the images tetherered to the card did not have three dimensionality and maintain presence through the document record. (More about poam duration on other occasions).

To read the interview Shadows, Boxes, Forks, and “POAMs?, click here.
Examples of evidence of interactions collection images accompany the interview.

You'll find links to Siken's other interviews at the site.

Monday Aardvark of Laundry as a video poam investigates and exposes active visual interactions and sonic interactions tethered to a methor in which the tactile was crucial in determining the configuration/structure of a pile of socks influenced into their shape through static electricity (that blossomed during the tumbling).

A print poam configuration also exists, and is not meant, in its more fixed form, to duplicate the video configuration. Part of the intention that I was consciously aware during the act of making was to study the residue of the tumble, the pattern of what had come to rest, the metaphor born when I assessed tactile interactions visually. The smell of the laundry detergent did not figure prominently. The warmth of the socks did.

Monday Aardvark of Laundry print configuration debuted here.

You'll also be able to listen to the mp3 audio poam from the print poam debut location.

—By the way, the image on the cover of Tokyo Butter (a reminder) is a scan (50X USB microscopeas seen on CSI!) of a blossom from the funeral of Deirdre, the last occasion that proximity to her physiciality supported tactile interaction.

Talk about scale, should I bid on the miniature of Grissom's office?

Posted by thyliasm at 06:25 AM | Comments (14) | TrackBack

GEARs

Enjoy some Extended roundness.

Roundness with some kicks of functionality maybe.

The system of rotating ladders that can be a generalized template for some of the interior and exterior activity of a poem (which is a subsystem of a more generalized Poam scheme)
can be configured a a system of gears.

As gears turn, other gears are activated (—the rate of the turning need not be the same —nor necessarily the direction —is that true?), and the motion of the system can become more apparent.
The gears may operate on multiple scales, the journey may be outward or inward, and may occur concurrently.

Some gears may not function optimally. There may be multiple systems of gears, each system moving in addition to movement of the member gears of each system.

Also composite gears, a gear comprises n sub-gears
(presumably down to some irreducible boundary unit where for being irreducible boundary, the rules might be different).

You can approach the parts —including the larger periphery, for instance, of the setting of The Red Wheelbarrow
all (oops!) the way to cosmic and/or all the way to the nano

—either all may be considered a form of focus, gestures that attempt to bound some aspect of making, representaion, expressiing, interpreting, understanding (some area of inquiry that the inquirer is defining for some reason that can be articulated to some degree, perhaps as a consequence of involvement in [the act of] inquiring.

The Red Wheelbarrow as a gear offers a location that can act as context for a journey to any other location, those locations influenced by the shaping of experience (dare I risk a synonym of all here, a word I don't make myself resist: universe?), or, in some way, the shaping of a universe in which a gear focus is the center.

This center is not necessarily fixed.

This center is a gear of context.

Intial encounters (a sensitivity to initial conditions (initial as in some focus on a moment/location as activation of an encounter) do shape what occurs next, guides, funnels, directs —colors interpretation of subsequent events. Word by word,m line by line, stanza by stanza, the poem unfolds.

Let's take a journey from a gear center that will link to another gear system in a jouney by powers of ten, this gear activating powers of ten gears in a previous post

Here's another kind of blossoming, an outcome of direct, literal tactile interaction.
The material of the interacting gears exerts some influence on the structure of the interaction.
Part of the purpose of this interaction is (re)configuration.

Is (re)configuration at work in the purposes of The Red Wheelbarrow?

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September 24, 2007

What's Your Blog?

Dear 240 Limited Poam Forkers, please leave your blog URL here.
Thanks.

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Some Roundness, perhaps

As we continue pattern exploration, and metaphor as a frequently used pattern, let's think about metaphor as a source of roundness, as a device that can help an idea swell, expand (and/or perhaps also helps compress.

Not that an idea must expand and/or compress

But in exploiring an intimacy with existence, in attempts to identify meanings, in efforts to locate the self and both ineriors and exteriors, some shaping perhaps is to be expected.

Consider Gilgamesh, the roundness of the first lines from tablet 1:

He who has seen everything, I will make known (?) to the lands.
I will teach (?) about him who experienced all things

and comment on the progression of an idea or an image; do you consider the progression more generally linear or nonlinear?

Take a look at Williams Carlos Williams' The Red Wheelbarrow and the shaping that this poem can enable. How might roundness (thinking of multidirectional, relatively simultaneous expansion at various accelerations) develop in the ideas of the poem and the responses of readers?

Is the scene of the red wheelbarrow a more linear or round scene?
Is there a definite center?
What happens if the scene is approached from other angels, from multiple locations on a circle?

Is the visual linearity of the spatial arrangement necessarily a depiction of the arrangement of the idea?

What are the shapes of the idea that dominate (for you)?
How does your sense of so much that depends further shape the idea?

Is the nonspecificity of what depends helpful?
What might be the effect of imposing a more limiting factor here, for instance that "an apple blossom" depends on a red wheelbarrow?

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September 18, 2007

Gestures as Pattern theme in Melissa's blog

Melissa's reference in "maxell's blog Eng 240" to "gestures is another huge non-spoken human language that remains as a huge technique in poetry. When we recite poetry, our body naturally moves and gestures to how we feel when we say certain parts of the poem. To show emotions of sadness when reciting a poem, ones body gestures in a way much differently than if we were to show excitement and happiness. Already, in early history were gestures a huge part in non-spoken communication and language. And til now, we use it to convey our emotions through language and poetry"
brings sign language to mind...

... and the following videos offer gesture as a primary vehicle for navigating a poam:

and

Posted by thyliasm at 01:47 AM | Comments (1) | TrackBack

September 17, 2007

forking (a) metaphor: the sun is an apple blossom (a part which may need to be part 1 after other parts clarify a logic of navigation)

One accomplishment of metaphor is to establish comparisons, often comnparisons that may be unanticipated in certain contexts of consideration. In establishing metaphor, an opportunity to explore the elements (including logic) of the comparison is also established. Metaphor is then (also) a vehicle of comparison, a means of navigation, of a shift from one location to another, some quality of each location becoming relevant to the other for the duration of travel.

So the sun may be(come) an appleblossom for a desinated instance of travel without the sun being an apple blossom permanently.

For some moment, the interaction of sun and apple blossom occurs. Do note that this is an interaction that assumes some existing influence from (prior) interaction with either "sun" or "apple" or "blossom" or "apple blossom" by the perceiver (in this blog encounter, a reader of English).

One outcome of comparison can be to help in expressing something less graspable in terms of something more graspable. Such expression can aid in establishing an understanding of something outside of experience by linking it to something similar (the similarity may need to some rules or limiting factors to help clarify some of the point of the comparison). Both the local and the cosmic may be both expanded and compressed through such linking.

Two videos that offer journey through an unfolding, or blossoming, of some of what is navigated between a starting point (apple blossom, sun --depending on direction) and a stopping point (sun, apple blossom --depending on direction) are:

and

Some questions that other parts of this metaphor post set will likely consider are:

What happens when a metaphor is reversed?

what is the relationship between a metaphor where (some form of) validity may be assigned (through some set of criteria) in one direction and a metaphor that reverses that direction?

In which circumstances, if any, may a given metaphor be reversed?

How many elements can the starting location of some metaphor support? Is there a maximum? A minimum?

How many elements can the ending point of some metaphor support? Is there a maximum? A minimum?

What happens when metaphor is translated?

(Perhaps) COMING SOON: (Navigating) The Wormhole as an act of blossom(ing).

Teaser:

More is on the way, including something about (some form[s]) of bird(s).

Did you know that the apple blossom is Michigan's state flower?

MAC, The Michigan Apple Committee is the sponsor of the an apple a day campaign to highlight a different variety of apple, well, daily.

By the way, the blossoming of a paricular variety of apple, the Ralls Janet, may have particular relevance to English 240; a Ralls Janet also refers to a major charactor in Slave Moth, a narrative in verse by Thylias Moss. Some insight into the writing of Slave Moth is available in both video and audio poams in the Limited Fork and the Limited Fork Music podcasts at iTunes; directly related episodes may contain "slave moth" or "project genealogy" in the episode title and/or episode description.

Or, click here for another "Project Genealogy" video poam location (info about the piece may be found at iTunes, not at this link).

An sound/video installation adaptation of Slave Moth, Aa href="http://www.frankpahl.net/FPHistory.htm">My Master Is a Collector, by Cynthia Pachikara, Marianetta Porter, Terri Sarris, Frank Pahl, & Ansted Moss was part of the Ann Arbor Film Festival in 2004. On stop in the blossoming, or travels, of this poam was to the Biddle Gallery.

UM choreographer, Robin Wilson, adapted the narative in verse into a dance piece also titled Slave Moth.

Reader responses led to the listed tines and other bifurcations. Here is an image of He Jin Jang, a dancer in Slave Moth, a piece also performed at The Detroit Opera House

More about Slave Moth and other emerging poetic forms that will lead to new and hrbrid forms of critical response may be found in The Hermit Poet blog.

For an adventure in tranalation, and an opportunity to navigate some of what can occur (within the limitations of the application) in translation, please visit (and try out): Lost in Translation. Feel free to post your outcomes.


Here's the initial outcome of the babelizing of "The sun is an apple blossom" (excluding Chinese, Japanese, and Korean [inclusion outcome follows]):

Original English Text:
The sun is an apple blossom

Translated to French:
Le soleil est une fleur de pomme

Translated back to English:
The sun is an apple flower

Translated to German:
Die Sonne ist eine Apfelblume

Translated back to English:
The sun is an apple flower

Translated to Italian:
Il sole è un fiore della mela

Translated back to English:
The sun is a flower of the apple

Translated to Portuguese:
O sol é uma flor da maçã

Translated back to English:
The sun is a flower of the apple

Translated to Spanish:
El sol es una flor de la manzana

Translated back to English:
The sun is a flower of the apple.


Here is the exercise repeated with the inclusion of Chinese, Japenese, and Korean:
Original English Text:
The sun is an apple blossom

Translated to Japanese:
太陽?りん??花??る

Translated back to English:
The sun is the flower of the apple

Translated to Chinese:
星期日是苹果的花

Translated back to English:
Sunday is the apple flower

Translated to French:
Dimanche est la fleur de pomme

Translated back to English:
Sunday is the apple flower

Translated to German:
Sonntag ist die Apfelblume

Translated back to English:
Sunday is the apple flower

Translated to Italian:
Domenica è il fiore della mela

Translated back to English:
Sunday is the flower of the apple

Translated to Portuguese:
Domingo é a flor da maçã

Translated back to English:
Sunday is the flower of the apple

Translated to Spanish:
Domingo es la flor de la manzana

Translated back to English:
Domingo is the flower of the apple

Posted by thyliasm at 11:45 PM | Comments (4) | TrackBack

September 10, 2007

Intro to Poetry - Intro to Rhythm ( **Limited Fork style)

A function of poetry is a (re)connection to rhythms.
Poetry itself, when made of language, functions as a pulse (of language).

(This statement allows for poetry to exist nor made of language.)
(Implicit in this statement also is a definition of language derived from a definition of Limited Fork Poetics: the study of interacting language systems —visual, textual, sonic, olfactory, tactile systems/subsystems— on all scales.)

The association of poetry to rhythms and cycles of existence can suggest the inevitability of the emergence of poetry and suggests the likelihood that poetry emerge in multiple and diverse cultures.

One outcome of Limited Fork Poetics, a genralized theory of making, is a return of poetry to the source of the word: from the Greek "ποίησις", poiesis, a "making" or "creating"

It is my pleasure to link you right here to The Epic of Gilgamesh, one of the oldest written epic (click here for a list of poetic forms).

When rhyme and/or other linquistic patterns are present and obvious, a rhythm, established by the rhyme and/or other linguistic patterns may be discerned. Poerry may, in this way, become an extension of rhytyms that characterize patterns in existence. Linguistic patterns may also help in the memorization of the content of the poems, an aid quite useful in nonwritten trabsmission of information. Content assembled in linguistic patterns also helped link the content to the status of other patterns that seemed to regulate or define patterns of existence such as passage of time as observed through passing of days and related agricultural cycles, gestation periods, seasons, and human aging. Many sacred texts and much cultural history exist in poetic forms where rhythms of existence offer logical locations for examination, contemplation, celebration, and transformation. Patterns may easily suggest evidence of power(s) or combined forces. Rituals, in part, function as patterns that can evoke the manifestation of natural and/or supernatural powers/forces in the human.

Even when spoken, some linguistic patterns suggest and even encpourage singing; a close association between song and poetry remains, and may prove unshakable, given the prominence of pulses (Jazz artist Pharaoh Sanders'2003 album "With a heartbeat" features a bassline built on the heartbeat of Dr. Jean-Louis Zink).

That linguistic patterns may not be apparent in the online version of The Epic of Gilgamesh in the above link may be explained, at least in part, to effects of translation. Still, rhythms of the human body allow for the the pulsed reading of any text.

The use of poetic devices such as line breaks and stanzas or less ordered spatial arrangemnts also regulate the visual movement of print-based poetry.

Sonic forms may further rhythmically punctuate poems and need not adhere to visual rhythms that may not translate well into sonic manifestations which tend not to deliver visual impact well.

"Bubbling" is a video poam (product of an act of making) that applies principles of Limited Fork poetics to themed visual and sonic interactions:

For more about the history of poetry, visit:
Poem of Quotes.com
"The Origins of Poetry, Music, and Dance (Grant Schuyler's essay)

For more video poams, visit:
the forkergirl channel at you tube.

Posted by thyliasm at 02:17 AM | Comments (3)