November 30, 2007


Let me share that of course radiant (or illuminating) qualities of poams may pass through us --for myself, this passage is much closer to certainty: I believe that radiant qualities of poams pass through me whether or not they do in any measurable reality.

(image from Quasar9)

This comes from a comment I left in Maxell's Blog
"Please don't overlook the poam configurations that exist within a scale that seems like incredible brevity from the human scale --poam configurations which may endure only as long as a lightning flash --sometimes the evidence is only a radiant pulse we (think) that we feel, we believe that we have experienced even when there is no proof but our commitment to belief.

So please watch some of the videos in the link below about the poam configurations that occur. often incredibly briefly, in the work of "nature collaborator" Andy Goldsworthy (don't you find how he self-identifies so illuminating? He tags himself with identifiers in a manner that maybe perceived as similar to Elizabeth Bishop tagging her sestina poam "Sestina." Consider the certainty that something has been correctly identified in such tagging).

You Tube excerpts from "Rivers and Tides," a documentary about Andy Goldsworthy in acts of making:

What can you say about intention when the poam melts, floats away, collapses, is carried away in its components by water, etc.?

Who is this for?

What is the value?

Why work so hard for something that does not result in the kind of monuments that often indicate human presence? Monuments perhaps designed to outlast us --why?

How do we study such poams that no longer exist? --only the record of the poam having happened remains

But then again, and I urge you to think carefully about this; but then again, why assume that what is on the print page IS the poam? In some ways, is not the print object a record of the event as it occurs in the mind and feelings of the maker? Is not the illumination something that (sometimes, when the maker is lucky) occurs in the impulse to make, in the act of making? And while the print object may illuminate those who experience it, what is being experienced may be a model of what the maker experienced to produce the print object and not the actual poam event."


Here is a chromatic motion print (a map) of the sonic tracks made by a Claude Debussy piano poam, as incorporated by Nick in his posted response to this post:

According to Nick: "This work takes the piano score and visually shows the song as it progresses. There is also an interesting representation of color in the piece, which helps to remind of Debussy's quote about color, music and ideas."


Perhaps more tangible is reminding us to (re)consider what we may assume is moving through our bodies although we usually do not see the subcutaneous travels of blood (though we may see the mapping of veins and arteries under the skin, may see pools of bruise blossoming).

The electrical coding of idea in our neural networks in not usually seen, but does happen, is happening as I type, as you read.

As stated in this description of a part of Body Atlas
at Ambrose Video where the series is available:
"Day and night, there's a clock ticking within our bodies. This clock is driven by chemicals in our blood-stream, the body's hormones. Made by half a dozen glands scattered throughout the body, hormones provide the unseen balance within our bodies that keeps our systems in harmony."

(image from Ambrose Video)

There are yet other instances of sensory awakenings as a result of unseen particles and waves passing through us (indeed, when to >i>see an object is to have unseen mechanisms deliver a rendering of an object to the optic nerve. There are occasions when unseen neural events allow, for instance: . The name for these a typical perceptual events is Synesthesia. The outcomes of cross-sensory interactions are synesthesian poams

Brainwaves (image from Corante (Brain Waves monthly archives)

Jane Mackay painted “Tchaikovsky’s First Piano Concerto? to creat a synaesthetic composition that bridges the gap between sight and sound. (Credit: Jane Mackay)

(image and image caption from Yale Scientific)

Consider this illuminating imagining as you prepare your system of course enclousure(s):

(image from Synethesia Research)

Another take on transient forms passing through, interacting with the body unseen is part of the Story of Pakistan

Commentary about dreaming and neutrinos are at Science Musings Blog

--And do not forget what happens when we do, at some moment, Go Gentle into that Good Night:
the passage of consciousness through? out? of the body?

--Is it the very idea of the self that departs?
that degrades?

--even Houdini, who promised to return to report what the other side was like, has not done so; even Houdini--.

Harry Houdini, who himself built a career on creating illusions, was critical of "spirit photographs." To expose the fraud, he photographed himself with the ghost of Abraham Lincoln.
(image and caption from: Wasington where the image source is listed as Library of Congress

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November 29, 2007


FORK: for attempts at access

(including the accessing of illumination)

About My Forky Qualifications:

--a diploma of course, but also the headline of Scandalous Tines

(Just a little reminding that I do know something useful, something illuminating about forking systems)

You have considered situations of fork, properties (plural) and property'sof fork; multiple and separate bifurcations can occur in a simultaneity that is not confined to a single increment of time for its measure; no universal human understanding or experience of time. Simultaneity is used to refer to a number of events occuring at different interpretations of time during a length of time specified according to a system of time measurement.

This basic approach to time can be applied to poems (a form of poam: products of acts of making), establishing some of dimensionality and complexity of poem duration. It is not necessarily the case that a poem progresses in time with all systems of the poem sharing the same system of time measurement. Each stanza, each line, each word may use different systems of time measurement in order to respond to events. While at line endings it is natural to go to the next line, that next line may be located on a differnt plane of existence (consider how stars in constellations are actually vast distances apart and are not radiating in the perceptual formations apparent from earth).

The line break is a bifurcation point, a location where an event (the line itself) has obvious opportunity for change. The corner that a line break is also offers multiple directions, some not as well formed as others; so for many interacting with the bifurcation point, only the movement to the next line seems s reasonable choice. It is a reasonable choice, but not the only choice, for the line continues, in all of the directions possble from that bifurcation point. Various conditions and interactions with variables encountered in those directions shape the structure of form of what ovvurs in a particular location along a particular continuing line.

Just as tools of magnification can help reveal other scales of activity, so too can magnification of conditions along any of the continuing lines at any bifurcation point (some lines passing through the point of course, not just/not necessarily originating at the point) help to reveal some of what occurs in the poem when a line is continued.

Not only line breaks are bifurcation points; any point in the poam can be, but the status of bifurcation point is particularly evident at line breaks, and the term line break does much to remind those interacting with the poem that a disruption has occurred, disruption offering a powerful invitation to opportune variables to get a foothold in the obviously vulnerable poem system, and attempt to shape/reshape the poem system (to some degree, a negligible degree, a profound degrees, & so forth), perhaps toward increasing staibility, which may hold for some moment (as measured on some system of time measurement) before once destabilizing, or these opportunistic variables may help the system destabilize further, at some rate on some scale for some duration of time.

In some systems of interprepation and literary analysis, investigation of the range of what can happen at bifurcation points in poems is not conducted, but in Limited Fork, it is important to understand the possibilities of a system, and to determine the rules at work in the various situations in the host location(s) of the poem, which even in the case of print poems on paper is not confined, or limited, to the paper page, for the interaction of a reader with the print poem, removes a subsystem, the act of reading the poem is a bifurcation from the print location, but I am also interested in the rest of the activity in host locations, and in where/how that activity moves in time.

Each tine or prong of a forking system can approach something different, in different planes of existence, locations of different materials and substances.

The tines themsleves may be composed of different materials at different times in different locations.

The limited fork functions within what is possible for the device, those possibilities adapting to what is possible according to the particular iteration of fork in use, an interation shaped by use and by the situation in which it is used. Collaboration is extremely prominent in systems of behavior in interacting bifurcation systems. That the systems interact implies collaboration.

Keep in mind:
These are quite generalized comments; they are not made in reference to an enhanced or extended or magnified surface or layer or scale of fork dynamic behavior; modifications will be made to account for specifics according to the situational focus of some aspect at some moment in some investigation.

Bifurcations may occur at either end, along tines, along the handle, at any location of the forking system of which an eating utensil fork is only a generalized model.

A generalized static model of a bifurcating system, image by Linda Wright/Science Photo Library. Includes interactions with sub-effervescing(a bifurcating form) system and interactions with light.

No information is given at SPL about the material of the fork, the weight, the length, the design of the handle or even whether or not the handle extends.

Here is a generalized diagram of how a fork eating utensil is made:

(from How Products Are Made: Volume 1: Cutlery

**Tine shift: Science Photo Library is a great location for science-related images which may be freely downloaded in their low-res versions as long as the credit is given fully. The fork image used here is an example of SPL's low-res quality.**

My favorite limited forking system, my favorite sition of fork, my favorite fork property is the mouth of the Ganges

as shown in this NASA satellite photo of southwest Bangladesh shows where the mouth of the Ganges River meets the Bay of Bengal (as featured on the Georgia tech research News site):

A model of the Ganges bifurcating system is available for purchase from Hidden Art Shop.
The Ganges Delta Cube by DH Products

Photo by Full Focus.

The Ganges Delta Cube is based on an aerial photograph. The delta could be seen as a huge evolving drawing made by nature. It is long lasting, in contrast to the transient qualities of lightning.
(from the Hidden Art site)

(recall the Lichtenberg Figure as seen below, image from Bert Hickman's Tesla Mania site, gallery 2)

FORK: for attempts at access

(including the accessing of illumination)

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