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 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)