October 31, 2008


—when in a language system recognized by who/what encounters it—
need not refer to a definite or finite object,
need not be near a physical object; Words
(tend to) link directly to the mind, tend to be hosted by a reality and/or realities of/in the mind,
a reality or realities that may be fully formed, and likely differ, in a variety of ways both subtle and profound, from realities
those Words generate in other minds
(while simultaneously retaining capacity to refer to specific examples or iterations, constructed within and/or outside the mind in shared generalized reality)

The same set/system of Words need not generate
the same set/systems of realities when the same mind interacts with them;
other variables help determine the system of realities that the mind supports
related to that set/system of Words
at any given time and any given set of (dynamic) circumstances.

THE Word
often when emphasized in such manner, can be/is sometimes/has been used to indicate sacred usages,
words that are supplemented with divine or super(natural) qualities,
that refer to something that transcends the human
and that can function as a link or bridge or tine
connecting the human with the divine
Words can accomplish this,
can become vehicles of connection when Words
form patterns of prayers.

The power of prayer is linked with, entangled with the power of Words: , words meant to promote humanity's capacity for humanity, a capacity often in need of assistance via divine intervention many find available through Words of prayer that link to a spiritual entity or force, a spiritual dimension or reality that can be designated with Words.

This is a reality of what words can achieve in certain circumstances, according to certain protocols and practices, universal Words such as universal usually unable to deliver universal consensus beyond that Word, when it or its equivalent, assuming the Word universal might not/need not have an equivalent in every language that is/has been/will be, can be used to indicate that which applies, with little to no deviation, to any human or other category within some specified parameters or system of consideration.

That humanity might need assistance connecting with a compassionate capacity and maintaining that capacity as the active system of being in part may function as a consequence (a form of interaction/an outcome of interaction) of Words such as Words that are part of this next prayer:

Juxtaposed with this is the Hebrew Word for compassion:

Since we are using Words and Images to construct poams (products of acts of making), systems of information that can simultaneously have/acquire aesthetic primary or secondary aesthetic function,

consideration may be given to challenges of using Words to convey singular concepts, challenges that include cultural systems, belief systems, cognitive systems, economic systems, social systems, intellectual systems, personal experiential systems, etc;

how might Words and/or Images (which are also processed or read, interpreted, etc., by the mind be separated from their entanglement with the multiplicity of interactions that are functions of such systems as cultural systems, belief systems, cognitive systems, economic systems, social systems, intellectual systems, personal experiential systems, time, geography, political systems, etc.? How might we as makers demonstrate any aspect of this entanglement, for purposes of exploitation, clarification, enjoyment, caution, etc.? How might we as makers help provide configurations and reconfigurations of Words and/or Images that perhaps can assist those encountering/interacting with our poams in developing/encouraging/(or even) discouraging strategies of configuring/reconfiguring/processing information?


Words themselves may contain embedded framing systems which may include systems of assumption that are difficult to recognize and/or question and/or (re)configure. An example of such embedding (of framing systems the article refers to as thought viruses) may be found in The Power of Language (ⓒ 2001-2002 Judith Lloyd Yero) at Teacher's Mind Resources whose mission is, as stated at the site, helping teachers mindfully transform education.

Here is an excerpt of Judith Lloyd Yero's essay The Power of Language:

Practitioners in many fields of endeavor have a set of unspoken but commonly accepted beliefs that guide their behavior. Education is no exception. "Conventional wisdom" drives much of the behavior of those involved in the teaching of students. One problem with these unconscious beliefs is that they are rarely reexamined for validity. They retain their power through the everyday language of the field that passes from one person to another much as a virus.

Thought Viruses

"Students must learn the basics before they can tackle more complex problems."

"The primary role of the teacher is to give students the knowledge they need to function effectively in the world."

"Good discipline is the basis of good teaching."

Such statements are beliefs. Said with conviction, they take on the authority of the speaker. The mind accepts them as truth—as factual information. Such statements are what psychologist Robert Dilts calls “thought viruses.?(1) A thought virus is a limiting belief—a generalization or a distortion once drawn from experience but now separated from its context. The danger in thought viruses is that, because they contain some truth, because they are partly true in some contexts, people are less likely to question their validity.

Statements such as students are motivated by grades and students must learn the basics before they can tackle more complex problems sound like fact. However, they are not always true. Almost everyone can recall situations where the opposite is true. These are not “exceptions? to a fact. They are pointers that let us know the statement is a belief rather than a fact—IF we are paying attention.

Simple factual statements that are part of consensus reality are often context-free. Statements such as snow is white, the formula for water is H2O, and Seattle is north of Los Angeles are true in the contexts people encounter in daily life. The more complex a statement gets and the less defined are the terms used in the statement, the less likely the statement is to get general agreement.

In order to reach agreement, people must specify the context and negotiate the definitions of the terms to be sure everyone means the same thing. Unfortunately, when people can think of a couple of instances where a statement is true, they frequently accept it as truth without further negotiation. This is how beliefs become established as "facts."

Many educational thought viruses are so much a part of the fabric of everyday life in schools that they are doubly hard to detect. Teachers simply nod their heads at such statements. It's not a case of deception. It's just that the language of education has the power to define the behaviors of teachers.


Book Alteration/Modification/Augmentation offers, as you know, physical means of transformation/(re)configuration of information that is some combination of systems of Words and/or Images into altered, different physical forms whose information can alter how the physical object behaves and whose system of information can include, whether or not the materiality of the book system used as medium included such information, sonic, olfactory, projected, and other layers of, often, visual forms.

These sites offer examples of altered/transformed/augmented books (Thanks Sam):
ragtag and whimsy

book art of robert the cara barer & jacqueline rush lee

jacqueline rush lee.com

england gallery.com

THERE ARE, of course, still other configuration/framing system possibilities
for both new and reconfigured print object production (Words-and-Images systems) and alternative physical libraries and artifacts for those alternative physical libraries.

In considering some of these further possibilities, some of which could have implications for your own projects and inventions, please take a look at:

We Tell Stories an alternative library framing system and alternative artifact framing system

Comment Press is a social text tool that, as stated at the site: allows readers to comment paragraph by paragraph in the margins of a text. Annotate, gloss, workshop, debate: with CommentPress you can do all of these things on a finer-grained level, turning a document into a conversation. It can be applied to a fixed document (paper/essay/book etc.) or to a running blog. ¡Try it out! (download instructions and examples are at Comment Press)

and examine THE BOOK ART OF ROBERT THE, CARA BARER, AND JACQUELINE RUSH LEE in an essay by Elizabeth Wadell. More of Cara Barer's book art, favorites of Gort and The Stig, can be seen at Book Art All-Stars at deep linking.net.

Alternative artifact framing systems may apply not only to a book system, but also to a book subsystem such as a page (such as these and other web log endless single pages) single word, and/or a single word as in Lisp by Ed Ruscha. Do also check out the word art at word art.

There are a number of online tools/generators that can transform your online information into other forms of information, other digital structures and architectures, that may also function as aesthetic digital or virtual objects. You can convert any (of your or other) web pages into a visualization or graph at Web pages as Graphs where three of the entries for this blog were converted: for NOW: a placeholder with Gort & Stig, GORT, LIMITED FORK THEORY, and THE STIG!, and last week's Knowing (and) Boundaries: OBSTRUCTIONS CONTINUE entry.

Support of the web page graphing is through Fernando Luis Lara's alternative generation of and cataloguing of narrative information submitted to the 365 Special Days site.

Word Cloud generation of web page/blog content for alternative artifact mapping is available at Wordle.com where these clouds of this web log were generated:


power of prayer image from Chase Bays at myspace.com

allah prayer cartoon from snapped shot.com

The Power of Language essay by Judith Lloyd Yero is from Teacher's Mind Resources

Posted by thyliasm at 04:32 PM | Comments (1) | TrackBack

October 13, 2008

Knowing (and) Boundaries: OBSTRUCTIONS CONTINUE

What is known is dynamic
as is what is/what becomes knowable

what is/what becomes available to interact with agendas (such as evolving projects)
as obstructions that must be dealt with since the obstructions arise along paths that intersect your project on some scale in some location for some duration of time,

intersections for which meaningfulness, for which some form of significance can/will be established, that significance then part of what is known and offering additional possibilities for what can become knowable.

Information shifts, modifies, extends, shatters, collides with, challenges, links to
other information,

much of it acquired through senses
that form a coalition of perception, one or the other dominating
according to a number of variables and circumstances,

at least a third of the brain's sensory processing systems devoted to visual processing.
There tends to be visual dominance among the sensory perceptual systems,
a dominance that can take part (often a substantial part) in configuring dreams and imagination,
seeing behaving as metaphor for understanding and comprehension;
what occurs when clarity arrives, when something makes sense.

Last time you were asked to consider what you knew and what you didn't know
about a relative of this Metal Ware product: ; what you could know, what you couldn't know. In pursuing some of the shifting and configurable boundaries of knowing, perhaps your will arrive, at least temporarily at locations where circumstances, and information you are bringing into the interaction, suggest the possibility of too much information, and limiting factors according to (flexible) parameters suggested by participating variables (such as the idea system that characterizes your project) may become necessary.

Give some thought to how you determine an (evolving) focus as your project work evolves, and continues to interact with the circumstances of (an expanding) now

to which your project perhaps can connect (in some form on some scale for some duration of time) relevantly, significantly, meaningfully,

significance, relevance, and meaning as flexible framing systems (scaffolding) (that your perceptions (which themselves have been/are being shaped by a number of variables, with and without [your] awareness) shape (within limiting factors).

[which is to further suggest that most things can function as either/as both frame and content of frame, as either/as both container and contained]

Please comment on (form is open) establishment of temporary and/or shifting relevance for the obsctuction set (system) of the Metal Ware object brought to Words & Images last Wednesday, a form of which arrives in an Architecture of Simmer framing system right here:


(music by Strexx Features sounds produced by the Metal Ware object during interactions with Strexx. [Gort and The Stig produce related sounds when traveling and/or orbiting and/or colliding with and/or destroying and/or building framing systems on some scale in some location for some duration of time])

Starting conditions vary,
and these initial conditions (of an interaction set) are important
especially in their sharing the scaffolding of what is possible along paths
these initial conditions can bifurcate into
(infinite possibilities bounded by/within where these initial conditions can go).

Some of you started with the physicality of Metal Ware on Wednesday, a physicality that included attempts to determine what could/couldn't be known, and to that introduction to Metal Ware physicality, those who were involved in that physical interaction can add dimensions/possibilities/challenges/revelations suggested by Architecture of Simmer.

Others will have this post as the initial conditions set of Metal Ware as the context for incorporating the obstruction (interaction) along evolving project paths.

That we are being challenged to establish meaningful connecting points of our emerging/evolving poams to the emerging/evolving/folding/unfolding now (on multiple scales in multiple locations for multiple durations of time) of existence is to also encourage our awareness of conditions and circumstances with which we and our poams can make contact, the contact a bifurcation station supporting/enabling opportunities for further interaction, for further shaping of framing systems, forming a scaffolding system (intact for some duration of time on some scale before breaking, failing, & becoming something else) for existence. In this way, we take on/add to responsibilities we have to moments we occupy/make/manipulate/expand/compress/twist/deconstruct/revitalize/ruin/expose/subdivide/elevate/renovate/share/etc.

I look forward to experiencing outcomes of these obstruction interactions.

Posted by thyliasm at 04:15 PM | Comments (6) | TrackBack

October 06, 2008

(The Little Red Hen arrives right now in the Stig/Gort Forest (to be introduced soon in a later post)

In this extended moment,
extended by the moments in which this post is encountered

extended by what I am aware of bringing into this moment
from other moments,

trimmings & crumbs;

in this moment in which I have some awareness of elements
that I plan to get to in this post as the extended moment unfolds,

a moment that intersects other moments,
a moment extended by others also thinking of The Little Red Hen

(for I've assumed an unlikelihood that of all who know of The Little Red Hen
only I would consider this hen in this moment and any of its extensions;

indeed, when someone who knows The Little Red Hen before encountering this post,
that reader joins me in thought about The Little Red Hen,

and probably those unaware of the story
yet able in this moment of economic turmoil to embrace and construct and conjure
ideas, mental pictures, sounds of a little red hen

extend the hen.
Ah: a little red hen as a temporary center of a universe unfolding here
and intersecting others via a host of tines

such as a little red hen blog
where images from the story form a border at the head of the site whose subtitle is:
peace, politics, yarnlife after 60, tines that can retain relevance,
with what I plan to offer about The Little Red Hen
and with Gort and The Stig.

(from wikipedia by way of amazon), and followed by:

An(other) visual extension:

At Project Gutenberg, the Florence White Williams 1918 version may be read, copied, downloaded for free, in keeping with the terms that appear at the Project Gutenberg website.
The story maintains availability; is augmented with generous access (though not entirely unlimited, as internet access is necessary, and may not be available to everyone which includes those who do not [yet] read English); access fitting for some of what the story, as you will also see here if you keep reading, is about along several of its tines.

At Northwest Entrepreneur Network, you'll encounter Lessons from The Little Red Hen and a gesture of usefulness for the story that both extends and enhances my use of the hen, just as my use can extend and enhance those lessons.

Jean Kazez's In Living Color blog features a Little Red Hen post from October 2007 in which useful ethical questions
are raised. As of my typing this, there were no comments, but that can change, so if any of you care to comment on Jean's Little Red Hen post, please do so —and please do so while retaining your project as an anchor point for responding to The Little Red Hen and Jean's post and this post.

Posted by thyliasm at 04:16 PM | Comments (0) | TrackBack

October 01, 2008

for NOW: a placeholder with Gort & Stig

A really big post is coming, has been folding and unfolding, is still folding and unfolding, behaving as a kind of respiration of the idea system, is alive, and just may be useful for this eccentric channeling I'm engaging in, with now: every post now accompanied by Gort and The Stig with whom I share mental breathing space —I am at home (comfortably folded into what is folding into me) in this recent and not fully-built triumvirate.

¡What flexible architectures surround my own flexible architecture of being and perceiving! —even an anarchy of body, the joy of rebel limbs that feel free to reject orders from the brain and instead experience whatever they want, fingertips convinced and secure in their exclusive reality of fingertips that are really jacks, these jacks hardly privy only to the history of the game, but, within the flexibility and flexibility's able collaborator: anarchy, these fingertip jacks are transformations (evolutions that when sped up function also as enchantments, even miraculous departures from what is possible in this external reality system, but only the ordinary in the reality the fingertips generate in their independence); these fingertip jacks are transformations of the anther and filament structure of flowers, the structure that produces pollen, that invites and welcomes honeybees (known as a keystone spacies) who started disappearing a couple of years ago, as if snatched away in spaceships to pollinate flowers also abducted to beautify alien worlds that would be barren without these abductions —only for the sake of beauty, including the beauty of the fantasy. Necessary abductions from the point of view of the abductors. It was no longer possible to live without the beauty of flowers, the fragrances of beauty, the growth of beauty from seeds as hard as rocks, as hard as fortresses protecting the possibility of flowering within.

As Wisit says on Top Design: no one can deny the beauty of flowers, no being from any planet, from any where that is a where... The disappearance of the honeybee, a subtraction from the flexible (and sometimes fragile) architecture of a system of reality (this world) that as a consequence, as an interaction with that subtraction —an interaction with negative bees— leads also to a loss of flowers. No bees, no flowers. (...a situation suitable for opera; an opera suited to Wisit, who can sound like flowers, the lament of the last wilt, beautiful aria, each note a petal). I wonder what strange pollen the strange anther and filament system of my fingertips produce, perhaps a pollen so strange, the bees cannot use it, so my fingertips do not blossom —unless alien modified bees return on spacecraft in search of just this variety of pollen that my modified fingertips produce, and then there may be crops of very special flowers like those that transformed Mr. Spock in This Side of Paradise (episode #24 of Star Trek TOS), a paradise that is still in the future, just as we remain on this side of the future, on this side of where we are ultimately going, an irreversible ending, arrival at a boundary of destination beyond which there is nothing, a vanishing that perhaps can also be an extreme compacting toward infinite density that in approaching infinity explodes, and a universe begins blossoming.

* (Diagram of flower anatomy is from Arizona-Sonora Desert Museum)
(The image of jacks is from myjanee.com)
(The image of Mr. Spock kissing Leila in a romance with an alien flower is from Wikpedia)


Gort & The Stig are my obstructions, invaders of my now (penetration all the way to the core of the moment, a sit-in saucer-style* center of a GAS universe: the GORT- &-STIG-verse, v1.1), agents both against and for, via twists, via other manipulation sets, larger relevance, significance, agents that take humanity to and from exaggerated elevated states and profound prolonged descents; they are worthy and unworthy vehicles, part of the world of humans, related to humanity without having to conform to humanity's boundaries that they, when outside humanity, help define and restrict.

Some say his teeth control the quality of the irons approved for use in extreme ironing and that his tastebuds are carbon fiber gum balls shrunken by his pulse; all we know is he's called The Stig

Here they are: The Stig & The Anti-Stig (GORT edition)
Here they are again: The Anti-Stig (GORT Edition) & The Stig:

Read more about the Habits of Species Stig at shaun's bicester info blog and at Top Gear.com

I The Stig & The Anti-Stig: ¡KLAATU BARATA STIGTOE!

Please join me in an investigation, from the anchor point of your projects, in
an investigation of
Now Management

How to keep the poam that results/that is (part of, a tine system of) an investigation active; how to give the poam (pseudo) life through its continued growth? growth for which the maker has/can acquire awareness?


How to permit interaction with what is happening around the making of the poam, at very specific locations and increasingly wider locations? How to endow the poam system with variable relevance beyond the interpretation systems of individual encounters with the poam system?


If making occurs within systems of occurrence, what can/does it mean for makers to engage in making receptive and responsive to the opportunities/demands of systems of occurrence (including political and sociological occurrences)? How to refresh poam systems so as to be (more) responsive to systems of occurrence that emerge in the now that seemingly doesn't end as each moment entered becomes now

I look forward to experiencing your responses to your configurations of these questions in your online locations in the now of my visiting the sites.


Posted by thyliasm at 05:21 PM | Comments (2) | TrackBack

September 24, 2008


Announcing: Project Stig: Gort edition

In Limited Fork Theory, collage as an information and intersection set
need not maintain consistency or continuity of form, duration, space, scale, substance, time, and/or configuration, for instance.

Collage system components (systems & subsystems themselves) need not touch directly, need not maintain close proximity
—as in celestial collages known as a constellations or star perceptual systems.

(from shaw.ca)

Depth ceases to register, ceases to have relevance for the human eye at such distance.

As if infinity compounded by infinity,
not the same infinite distance from us,
some theoretically further, some mathematically closer
though without relative difference on the impact on
what seems equally unviewable;
equally infinitely distant through unassisted human eyes,
including the extended viewing imagination can amp up.

Perceptual flatness links and lassos stars onto a single plane,
often with the apparent uniformity of a necklace —such as these radiant beads:

and so we dress up the sky, seeing something that can be perceived as great even without details present through lenses
of telescopes —I'm hearing LeAnn Womack's I Hope You Dance right here...

I hope you never lose your sense of wonder
You get your fill to eat
But always keep that hunger
May you never take one single breath for granted
God forbid love ever leave you empty handed
I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give fate a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance

I hope you never fear those mountains in the distance
Never settle for the path of least resistance
Living might mean taking chances
But they're worth taking
Lovin' might be a mistake
But it's worth making
Don't let some hell bent heart
Leave you bitter
When you come close to selling out
Give the heavens above
More than just a passing glance

And when you get the choice to sit it out or dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give faith a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
(Wants to look back on their years and wonder)
I hope you dance
(Where those years have gone)

(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

Music and Lyrics by Mark D. Sanders/Tia Sillers
Copyright © 2000, Uni/Mca Nashville. All Rights Reserved.
from the album, I Hope You Dance
(from internet resources)

(star from James Jensen Design)

In establishing connections across scale, space, form, time, links to and from hubs
or anchor points —bifurcation stations

(which any point can be,
any point from any scale);

in making connections, what is mapped is a collage of interactions,
a warped or here-and-there regular (for a duration of time) proxy-extended kaleidoscopic symmetry

(from American Mathematical Society)

(a symmetry of close relationships that extend & enhance identities, that bring together,
construct, no matter how brief the union
, how ultimately [assuming such ultimate exists] [un]successful the unification, evidence that there was unification marks participants;
information of unification becomes part of the components of interaction,
one of the collaborators in close relationships
such as shadows, echoes, and reflections and approximations of such)
in which a logic of connection forms sufficient similarity
or purpose that extends this pattern of logic, forming a symmetry of logic that can manifest

in any, in multiple forms
on any, on multiple scales
in any, in multiple locations
at any, at multiple times
for any, for multiple intervals and/or durations.

The logic can link visual, sonic, olfactory, tactile, cognitive, imaginative structures, patterns, hunches, errors, etc.,
these linked tines often aesthetically pleasing, often jarring —depending, depending, depending

perhaps helped into acquiring such configuration or (flexible) frame by desire/curiosity/need to construct it,
that information encouraging that which is or can become findable according to the search parameters
to be more likely to be found;
the information becomes biased/oriented/directed through interacting with the search used to investigate, used to understand; this unfolding of the possible unfoldings marks the reality available to be perceived/detected.

Metaphor can function as a tool-kit or tool system
for forging liasons between at least two entities
(either end/any end of metaphor can split into any number of tines,
and the ends of metaphor do not have to split into the same quantity of tines.
Metaphor is not only transformation or morphing of something(s) into other thing(s),
but it is also travel, route, path as well as vehicle; a transport system,
for implicit in transformation is movement from configuration to configuration,
and what can be transformed includes that possibility that destination(s) and point(s) of departure
do link, do come together on some scale in some location for some duration of time on some scale

metaphor becomes a tool for navigating whatever is/was/becomes navigable.
Metaphor travels within a kaleidoscopic symmetry it makes/identifies.

Metaphor is also a form of collage
(as are text poams).

The collage may be layered, convoluted, warped; have widely varying densities, may take on the regularity of a quilt or agricultural fields, may be the universe, the brain and its content, cellular structures.

Here are two visual metaphors by Bizarro himself: Dan Piraro:

(from Bizarro comic blog Bizarro Trading Cards are now available, by the way)

These two ads offer fused or stacked collages in which metaphor is embedded/is the vehicle of fusion, how bean and burger converged, how mustache and hat merged with identity; text other than the language of placement of the hat is minimal:

it's the hat

So I set out on a really big road trip
through as much kaleidoscopic symmetry as I could find/make:

yes I was looking for The Stig

--and I found Gort--

a reverent & irreverent twin study

—yes; The Stig's personal ancestry includes his life and work as Gort.

His better-than-monkish silence, his unprecedented driving skills (licensed for light years), and his love of Theremin alien lullabies prepared him to get around the universe in tune
—but that was a dream job from which The Stig has retired

to drive vehicles on Top Gear in a circle the diameter of the Gort-guarded flying saucer spacecraft in the 1951 release of
Day the Earth Stood Still, the film in which Klaatu through Michael Rennie made the earth still for thirty minutes, to the delight of Sam Jaffe as Professor Barnhardt, physicist, and Einstein substitute (a la Equal Brand sweetener) whose equation (identified by Klaatu as a problem in celestial mechanics) is accelerated by the space traveler's help
on a chalkboard Hilda was about to erase before Klaatu's caution against that erasure startles her.

Klaatu & Bobby interact with Barnhard's equation:

Barnhard with blackboard equation:

Einstein with blackboard equation:

(from father wooley.com)

I also like (kaleidoscoping further) Sam Jaffe also as the medical guru heading Ben Casey's Hospital
whose man woman birth death infinity

linked well with gort klaatu barata nictoe
as echoes and translations —a Limited Fork Theory system of kaleidoscopic symmetry,
and Patricia Neal's saying as Helen Benson gort klaatu barata nictoe
did indeed mean that a matter of life and death had surfaced, as this apparent infinite loop of birth and death has always been for the abbreviated always that humanity can already claim.

So round and round the loop drives The Stig, as fast as he can
for the love of orbits
within what's possible for the vehicles he pilots: the body (whether robot, terminator-in-training or something else, oddly fantastic circular melange) in The Stig suit and helmet and the car.

Professor Barnhard's equation:

Einstein writing equation on blackboard (close-up):

(from corbis)

A reality in which Einstein has Hilda-type help variation:

(from science after sunclipse)

Standing still is the death of Limited Fork which depends on, move with, lives as interaction, as motion, as event, as evidence thereof; so when the earth stood still, there were marks of prior motion, evidence of ceased activity; the fork limited to artifact, at rest; the fork not forking, but forked to death, the tines more etched and defined, the kaleidoscope fixed, singular perspective, no way to turn what could be a dial if turned; an unvisited gallery in which no movement results in no visitation if nothing moves.

So I am intrigued by that Day on which there were ethical exceptions to what was stilled; a beauty of exception, a marvelousness of exclusion.

Maybe a last act before immobility will be a meeting of all tines, a converging movement into an ultimate entanglement, a tying into a bow as a gift of peace, still(ed) moment? if time has stopped? still(ed) day/night? if day/night/time has stopped? Light is event, and stops. Darkness is event? State of being dark? Active darkness? Or the appearance of cessation itself, the look and feel of cessation?
Singularity? Outcome of the fusion of everything multiplied by the zero that is part of an all-inclusive all-embracing everything.

Solved and unsolved universes

Further kaleidoscopic perspectives in a collage system of travel toward a gift of meaning:

Day the Earth Stood Still 1951 warning of hope excerpt:

and a remix, a double take, a delayed twin, updated, clone raised apart yet interacting with certain gist, certain marks,
certain fields of information:

The Day The Earth Stood Still (2008) - Official Trailer (HD) - The funniest movie is here. Find it

This is part of my Stig project, some very flexible bones,
some of which will set in certain ways, will develop preferences for the setting

but the bones can be broken to redirect, to reset them
if as necessary.

As Project Stig: Gort edition progresses,
it will grow to encompass, at least fringes of these definitions from all words.com:

Posted by thyliasm at 08:26 PM | Comments (1)

September 17, 2008

THE FOLD (Welcome to Kindergarten)

I hope you don't mind a bit of kindergarten.
Because in attempting this, I doubt we'll get any further than trying to fold a piece of paper.

(from empas.com)
and related to: All I Really Need to Know I Learned in Kindergarten by Robert Fulghum


Folding a piece of paper is such a broad action, that without more restriction, more limiting factors; without narrower parameters, you may be stuck in this folding of a piece of paper for a while, even though there may be a limit to the physical manipulation, so understand this risk before you get involved. Imagination can continue to fold the piece of paper, however; an actual limit of physicality is not a limit on what imagination can attempt and accomplish

(indeed:idea is folded into thinking systems in the mind, and the brain itself is an intricately folded realm/system:
Do take a look at the article Human Brain Folds that is the source of this image.
You can see why brain coral such as seen in this image from Chris Gordon's flickr streamis called brain coral

Here's one additional image of the human brain's fold-system from Wikipedia Commons:

Rules (boundaries) vary according to circumstance. But do start with paper that has measurable physicality. You can stop folding the paper (which may be attached to something, may be part of other systems) at any time, of course, and whenever you do stop, you will have arrived at at least one limit. Perhaps you are even working with paper that already has been folded or dogeared, perhaps; maybe you are working from or toward a pop-up system of compacting/expanding information —the fold supports this. Perhaps you are making a snowflake, and will add and/or subtract guided by folds:

(from instructables.com)

Paper SnowFlake 3D (origami +stapler) - video powered by Metacafe

The paper will respond to the information of the process, the activity of folding; creases, evidence of where folds have been, whether careful meticulous folding or crumpling. (from bioinformatics zen)

The paper remembers; (from design Oahu)the fold itself arrives with memory of itself, information about what has happened/is happening. And if you're working with paper previously marked in some way, then the paper with those marks (including pictures and text, stains, rips) establishes the set of initial conditions of your interaction with the paper. Initial conditions help to determine the context of what is possible in the interaction(s) in progress. Each interaction session has a set of initial conditions.

Crazy Paper Folding Trick - Celebrity bloopers here

In the case of a session of paper folding in which initial conditions prior to your first gesture of folding
is done on paper previously marked on one surface (side), then those markings, one folding begins, and depending on the extent of folding, the number and location of the folds, etc; depending on these and other factors, the marking may now occupy more than a single, less complex surface; part of the system of marks may be relocated by a system of folds to interior locations, interior surfaces; there may now be more complex architecture, more flexible architecture, and/or more surface; there may be more volume as an outcome of folding interactions.

(from Hamilton Public Library writing resources)

Limited Fork Theory encourages documentation, and openness of form, for form will be shaped by the nature of the investigation itself. Remember that the flow or travel of information is multidirectional; all participants in an interaction both give and receive information. You are bringing information to the medium being folded. You are bringing what you are attracted to as shapers of your searches and actions; what is attracted to what you seek becomes more (but not inevitably) discoverable. Perhaps an investigation of folding will lead you to make objects, various digital iterations derived from something that is realized at some location in the folding (or the related unfolding). Maybe a lovely equation where the script is very thick, to the point that the pattern of the symbols can dominate and in 3D printers become objects that can fit together as puzzles (which can be re-framed in a variety of forms, according to the system you devise, and the form of/amount of connection you apply to the configuration of the puzzle), or perhaps the 3D modeling of this (and the bifurcations of this; the ability to fold is powerful; consider the consequences of that opposable thumb, the way the thumb can fold to touch the other fingers; the way those fingers can fold to meet the thumb). For Hiroshi Sugimoto, the outcomes of equations are three dimensional scultures whose volume includes his understanding of what is folded into the invisible mathematical line and the pencil line or chalk line that writes the equation having, on our human scale, only length (meaningfully; the depth can't be usefully perceived by us until we shift consideration to a smaller scale which becomes enlarged and meanfully through focus and magnification).

(from sugimoto hiroshi.com

Perhaps a system of text-based units that fold/unfold in multiple ways, some of which depend upon the shifting of scales. Perhaps something motorized at least some of the time. Alphabet free to fold into and out of various alphabet forms mechanically, digitally, or just a flat diagram in which such interaction is imagined without needing to exist with more dimensionality. Perhaps something about what happens as the paper is folded gives you ideas about how dimensionality is acquired. Maybe the writing of a text poam (product of act[s] of making) in which folding exerts significant influence beyond/in addition to the word "fold" having presence (various active instances of folding are part of this post). I say this at the outset mostly to point out how the destination can bifurcate into many tines of the fold fork (bifurcate yet still be attached in some way), any particular poam not arbitrary in the context of the investigation that can help explain the nature of the poam that results. I say this on the fly, within the limits of what I can imagine, the presence of a bird sound that made me interact with a shift in the angle of my eyes, just now (a slightly earlier now than this "now" —or the typed now that precedes it can reference; now is not necessarily synchronized; time sort of folds as it moves, interacts with various siutations and perceptions); anyway, I shifted my eyes from the computer screen in time to see a bird fold its wing as landed on a neighbor's new fence. A fence whose slats could be reworked into a folding structure like some window blinds and treatments. A wing whose folding also hooked up with some of the folding roofs in the architecture of Santiago Calatrava, whose work is a system of study of interactions —Limited Fork Theory loves Calatrava's exquisite tines; so much folds into/out of them:

Some stills of Calatrava's functional and aestheitc poams:

(this Calatrava image trio is from benjamin's wey)

Here is a (partiallyfulfilled) vision of Folding Architecture:

Rotating architecture, perspectives folding and unfolding as functions of rotation
may be experienced, remotely, somewhat vicariously through this video about a skyscraper
(being) realized in Dubai:

I do know that proteins fold
(from Wikipedia: protein folding where you get details about this process and system of folding).

Click on how proteins fold for even more information.

The investigation itself can provide the contexts and reasons for focus so that appropriate rules of exclusion can direct the forming poam in particlar ways.

There is a reason for the apparent unrestrictedness of what's been said, because it demonstrates the bounded infinity of what's possible within an active limiting factor to exclude what isn't about fold, and to include a model of fold's range on multiple scales.

Please fold gist of this post into your thinking and work on your project, and record outcomes of folding the gist in your blogs.

As fold is investigated, and ideas and understanding begin to limit what fold will be for you in this session of interacting with fold, necessitiies of form will also emerge. If the form that seems best for the emerging and evolving idea of what you make is a form that you can't execute in a way that gives it physicality, then the map of what you can't make, the diagram of what you can't make, the song of what you can't make, the _____________of what you can't make can function as the poam, for foldind into it can/will be documentation of the entire investigation; somehow this is folded into what is made. It's certainly possible that the documentation itself becomes the poam.

The goal is to understand folding (of words and images) better. If the poam that results is just the poam of enhanced or extended understanding, that's fine. Again; the purpose isn't to make a particular thing, for forcing agenda on investigation does help deliver outcomes of that agenda —and investigating fold is already an agenda; the outcomes will be related to fold.

Fold is a limiting factor, an anchor point for what you contemplate via this post in that what it contains has a relationship with fold that can be perceived as a relationship for reasons that are being documented as you fold (literally and figuratively) —any/some form of fold.
Your project is the semester anchor point in which you fold, this contemplation of fold occurring as a sub-anchor point within the primary anchor point of your project.

Well; enough of this.

I just needed to set up some really bare walls as minimal paramenters. So now that the playpen is bounded, very soon, this directive will be only the playing itself. It just might turn out that what unfolds in this investigation of folding is that this blog won't contain any other activity. A persistent kindergarten state. We'll play in this playspace with only folding, and, figuratively, the playspace may get folded into this first Forking and just stay there, because in some persistent fold situations, the fold is a rut —not that you have to go to rut at all, that opens up (please don't think of birth of fissure, locations of physical stress).

This is a relatively unfolded springboard (marked with subtle folds of agenda to fold) into an investigation of folding (paper). I cannot account for all of the situations active in your session of folding. Some of the springboard tactics can lead you to the forming of parameters that refine the investigation. Feel free to conduct other investigations in which the values of the parameters are reset. Perhaps visit Britney Gallivan's solution to the Paper Folding Problem ( an accomplishment mentioned in April 2005, as it says at the site, on the CBS television showNumb3rs).

(from Britney & the 11th fold)

Fold and fold and fold paper; fold and fold idea.

Just to think about folding is folding multiple connections into multiple locations in the brain —"writing" them in (I'm picturing the writing of the Ten Commandment tablets in DeMille's film). Fold and its bifurcations are not written into only one brain spot. Though the paper folding session that follows is being set up as a series of physical manipulations in 3D space, the flat version —think of 2D maps of 3D spaces— can reveal more of the pattern of the folding while concealing (yet being marked with the information of) the 3D shape. The brain into which idea is folded, is folded itself. The path of fold in the brain is more of a forking or bifurcating pattern/system because of the multiple connections fired up by fold in the mind. Fold is a system rather than a single thing. Focus can (apparently) reduce the number of parts of the system that are being considered in a particular situation; branches of fold are weighted with a different relevance according to the situation. Fold can get bulk out of the way, freeing up space (fold as compression).

As this kindergarten session progresses, some branches will bear more weight than others. Some connection paths in my brain burn brighter for me because there are more elements connected, and their combined luminosity is more intense, and folded into how I form meaning in my years of being trained to prefer well-lit locales over dangerous poorly-lit situations where I may be more vulnerable to attack, though I would argue that I have been attacked by the light; it draws me to it, and without fear, I venture close to the bright patterns of the mapping of fold in my brain, and I am burned.

Now Playing: Folding 101: Kindgerten Mental Burn Unit.

Depending on what you (try to) fold, this investigation could lead you to different considerations of persistence.
But say that the material to be used in the folding is paper, some form of paper.
The thickness may be an issue. If so, document (in some way) what you experience concerning the thickness
of the paper and your efforts to fold it.
Is the paper wet or dry? etc. Is it burning? Is fire being allowed to fold the paper?
Would can it mean if the paper has been/is being/will be folded into a recipe for papier mache?
Just what is the condition of the paper?
Is there any evidence of previous folding? Of acquisition of prior information?
What role did such evidence play in the paper's selection for this session of folding?

Fold the material (including idea) at least once. Feel free to use varying amouunts of pressure
as you fold the material. Feel free to use devices to help you fold the paper.

Are you trying to fold the material into a particular structure?
Is particularity of a destination shape present from the outset of this session of folding? or does the possibility of more definite structure emerge
during the session? How can you account for the emergence or non-emergence of the possibility
of a definite structure?

Perhaps you think of Sadako's paper cranes.
You certainly don't have to think of Sadako's paper cranes, but if you do (this continuation of the discussion enhanced, folded with this tine of consideration), then note that the following words are from the list of vocabulary/spelling in the information available from students at the University of North Carolina for the inclusion —or folding— of Sadako and the Thousand Paper Cranes by Eleanor Coerr into a children's literature curriculum:

atom awake bomb carnival crisp
engrave exclaim fidget frighten groan
Hiroshima holiday kimono leukemia memorial
nervous Ohta photograph quilt Sadako
secret swarm whirlwind whisper wriggle

Fold (paper, other project material, idea) until you reach some limit.

Please document (in some form) as much as you can (until you reach some limit of documenting)
what you know about the limits that are reached

Are these your limits or the paper's (or other folded material) limits?
How do you know?

Was the paper clean at the start of session?
What is the paper's condition now that limits have been reached?

What is happening in the locations of the folds?
Has the folding also made additional corners?
Is there somehow more surface to explore?
Is there one or more interiors?
Are there means to access these interiors without unfolding?
Enhanced volume?
Modifications in dimensionality?

Where was the paper as it was being folded? Where are you relative to the location of the paper as it is being folded while ideas about what is occuring are being folded and refolded into you?

Is the first fold a dominant fold in some way?
Is the first fold a determining fold in some way?

Has a gift been wrapped?

Explain (in some way)

Now that the paper has been folded,
are there some usages for the paper that have been altered or eliminated?

What are the attributes of the paper that helped determine —or limit—
how it could be folded?

If the paper wasn't blank, what has changed, if anything, concerning how the content
may still be accessed?

Perhaps deliberately select paper with text content or some other content, different areas of texture,
different areas of color, and document what happens to the content at various stages of the folding.

What is happening to the meaning of the content as its physical position is shifted during the folding?

Have you folded the paper in some way that enhances flexibility?
That restricts flexibility? A crude simple quasi-model of a corset?
(I may be stretching the writing here, but the paper may lack elasticity unless the folds contain enable some stretch). If you can find it, watch the movie.

Pleats? Accordions? Fans?

How regular is the folding?

Are you folding a single unit of paper or multiple units simultaneously?
What happens to ideas of top and bottom as the paper is folded?

Are there additional dimensions even though the total package of the folded unit of paper may seem able to fit into a smaller space? How is time being folded in to the structure taking shape?

Have you made some gift-worthy or near(miss)-professional origami during this session?

Does the documention capture the essences of your understanding about what is occurring in the folding (session)?
What are the methods and locations of capture being used to document?

If it's being documented only or also in your head, then it's fine to include "electrical" as one of the forms.

I will be folding a scented perfume sample that was packaged with an invoice.
I will try to fold a love letter with my toes, with my teeth.
I will fold a map. I hope that I fold a map as well as Dave folds a map in Highland Park; a folding so accomplished, there's a video documenting the folding.

I will fold graph paper
I will fold papery disposable diapers
I will travel better than ever, hotel staff will marvel as I unpack and unfold my clothes for a fee in the lobby, enough to upgrade to preidential and penthouse accommodations, a wad of bills too thick to fold well, too thick to fit into any standard trifold wallet. I owe my expertise for having to learn to fold from Benny

I will make, rather I made, "Frieze Framed by Friezes" a video quilt (or video collage) poam in which forms of folding are active in what's captured in the still and moving images of the actual acts of demolition (as it to unfold or remove the evidence that supoorts what resides best now in memories of the Frieze Building, a rewriting of evidence on what is now the site of new construction that will house, among other units, the school of information).

So now what?
Maybe something tidy has come out of the folding; perhaps you have an affinity for compacting, perhaps you coukd leave this session satisfied if you left it right now, perhaps you've wasted a perfectly good piece of paper, maybe from now on, your hand-made grocery lists will be pyramids, you'll try to tuck miniature tetrahedrons into pockets or purses.

But this is far from done. I must confess that I have much to figure out about folding. I seldom get beyond the folding of paper. I'm not even sure that I am close to the limits of folding paper unless I establish some limts, some rule(s) of exclusion and inclusion so that in thinking about the conditions of the paper at the outset of the session, I won't, through a series of connections, ultimately arrive at the beginning of the universe, not that that isn't where I really want to go, because being there suggests a partnership with proof. Imagine: the folding, unfolding, refolding of the universe as a mesh of Limited Fork tines!

Has the folding been positive folding or negative folding?
Each time smaller? Or were some folds reversed? Is unfolding a fold allowed as an instance of continuing to fold in the session?

What is the present situation of surface?
Is folding weakiening some areas, strengthening some areas of the paper?
Do the folds help locate preferences for formation of cracks?

Could the folded structure that has emerge be considered regular? Or would "irregular" seem to access more of what dominates what is emerging as important in this session?

~Oh the beauty, the necessity, the potential of your projects and all of their folds!~

Remember: you are folding your response to this into the context of your emerging project.
Your project is understood to be a flexible idea system, an idea collage of interaction(s) and intersection(s), and this poam system may be entered and exited in any number of ways by this kindergarten subsystem of Limited Fork Theory.

Here are two wordles of this blog:

Go to wordle
and create your own word cloud that folds into its architecture the textual content that you specify
in an interaction set in which text becomes (a modified) image.

Posted by thyliasm at 05:22 PM | Comments (3)

September 15, 2008


The following image by ED RUSCHA offers an expressive work Lisp in which the word and image may be (flexibly) framed as conjoined twins:

Here's a closer look at a Lisp detail:

The word, in acquiring texture and volume becomes more associated with being an image or object in addition to being representation.
As there is only a single word, though the word-object is complex, non-linear, a cascading or serpentine inhabitant of space, conventional reading of the word-object seems not to be the only or even the likely engagement with the word-object.

Because the cascade or the lisping nature of Rucha's lisp is the identity of the object, is it a lisp, and not a representation or abstraction of lisp as the word would be when used as language.

In the following views of book autopsies by Brian Dettmer transforms books, at a time when many are questioning the future of books and at a time when many are realizing that libraries cannot and do not (have not been warehousing all books for years) keep a physical copy of all published text objects, into expressive objects not meant to read for the text content for for the interactions. It is not (only) a story of the content of the book, but also a STORY OF INTERACTIONS WITH THE BOOK AS OBJECTSTORY OF INTERACTIONS WITH THE BOOK AS OBJECT STORY OF INTERACTIONS WITH THE BOOK AS OBJECT
STORY OF INTERACTIONS WITH THE BOOK AS OBJECT, those interactions possibly influenced by (some of the)information of the content.

As with Ruscha, words themselves become objects, taking on the function of objects in addition whatever function of reading text remains.

(this last Dettmer book autopsy is from wikipedia)

In altering or transforming books, in treating the materiality of a book as a medium for constructing aesthetic output, of course words and alphabet retain a connection with their function as language, but this manipulation also offers other ways of framing information, reveals other possibilities for interacting with language, and also can reveal some of the complexity of content —that is, the autopsy of the book reveals matrices that the book contains, information patterns embedded in the architecture of the book. The altering of the book exposes other forms
( connections) of spatial occupancy for the object.

Posted by thyliasm at 06:15 PM | Comments (0)