January 28, 2008
SURFACE DELIGHTS (& the delighting of the surface: a study in varying & varied illumination)
Approaching (and only that) --yes; also approaching Zeno's paradoxes--
(a related [then again, what isn't related, on some scale, in some form, through some sort of navigational metaphor?] image of Newton's Principia is here presented to you from Math Is Good for You! where the original context may be experienced)
To continue: Approaching surface as point of contact, as the set of points, particle, wave, plasma, stringy or not points, where interactions can and do occur, inner and external surfaces, locations to attempt engagement and entry;
approaching surface in this way, investigate the following surfaces thinking about ways of entry, and ideas encouraged by the structure (as you perceive it) of the surface points of entry (on various/some scale you specify) about the ways of entry (as you perceive them)
into the following surfaces:
(the form of your documentation of this examination of surfaces is open, and may take multiple forms, including a poem or poems)
from SAISIR [TO GRASP] by Henri Michaux (Poems for the Millennium p. 59)
Imagination Dead Imagine by Samuel Beckett (and the commentary that follows) (Poems for the Millennium pp. 86-89)
The Meaning of Simplicity, Naked Face, from and 3 x 111 Tristychs by Yannis Ritsos (Poems for the Millennium pp. 92-96),
Preliminary Studies for the Frankfurt Readings 1984 by Ernst Jandl (Poems for the Millennium pp. 122-123),
A Few Things, from The Philosopher's Stone, The White and the Black Bones by Konrad Bayer (Poems for the Millennium pp. 124-126),
fromSearch for My Tongue by Sujata Bhatt (Poems for the Millennium pp.443-446),
Two Intergrams by Jim Rosenberg (Poems for the Millennium p.826),
the Search Results pages of Tokyo Butter by Thylias Moss
**please note surface interactions/point of contact between elements of the surfaces you examine in the readings/examinations**
January 15, 2008
Ostrich Culture of Snowmen (extended enclosure of [and that is] language-system based expression of simultaneity explorations)
Thinking about boundaries led me to think about:
The Culture of Snowmen, a print poam in Tokyo Butter, is a start of a consideration of a of some of the nature of a human-built extension of humanity decidedly articulated with brevity in those areas associated with temperature fluctuations that hit and/or exceed a melt point (consistent with prevailing situations).
These structures (and sand castles) interest me as poams in which permanence seems not to be a (primary) goal in the decision to make, and also seems not to be a primary goal of the execution of that decision.
Snow falls, and often (more in the past than now outside of constructions in my mind) an impulse to interact, to collaborate with snow is not overcome, and, given a suitable consistency of the snow for the making of snow people, a community of snow people would populate my yard, front and back extension, sometimes even a snow person or two on the porch --always upright, always rigid, and though I was curious, I didn't follow through on my wondering about the system of the melt of these populations, so any thoughts formed/forming about the system of the melting is not-observation based speculation, not-observation based imagination. The issue of circumstances of the melting of snow crystals (to be photographed indoors [according to the protocols of photography in place when Bentley captured his now celebrated (in some circles) historical and revealing images] was a challenge for William Bentley, who is considered to be the first person to (officially--this term is governed by limiting factors and systems of protocol that are systems of circumstances of perceptual systems) successfully photograph snowflakes.
(a Bentley snow crystal image from NOAA online photo library
--oh to be made of vast populations of such crystals, crystals damaged in the magnificent making--) ((refer to the extended portion of this entry now if you like))
*(there is, I believe, a reference to Bentley, and other poems that interact with snow, somewhere in/throughout Tokyo Butter. "Snow" did not make it onto the Refined Search (highly selective) list at the end of the book, but "crystal" did, so it seems likely that some of the listed references to "crystal" will also connect with some occurrences of "snow" in the book. A strong link to snow and making is in the print poam Accidental Culture, also in the book.)*
**(this consideration of "crystal" invites consideration of Symmetry, as perhaps this system of tethers, links, connections, interactions, may suggest to you various patterns or structures through a mapping of tethered system of enclosure or focus or engagement)**
I do not recall ever making snow animals (other than the human animal).
Perhaps memory constructs an additional snow person or two (beyond the size of the populations actually made), but I resisted the building of just one snow person.
That the snow people populations would not last did not bother me, did not deter me from spirited making. Some of my snow people were quite small, the sizes of a range of doll sizes.
These memories are not (directly) a part of the print poam in the book where the system of enclosure invited considerations of some of what remains on the tines (or filters) of the focused-forked access location. But recalling the print poam now, invites association (link) with more of my perceptual encounters with snowmen.
What has resonated more with me is that snowmen are made at all, instead of, say, the forms that snowmen take, their individual differences as (snow)men. (Some of the) history of snowmen may be accessed at the preceding link or this link.
My snow populations (recalling them now) were uninspired in terms of the physical possibilities alluded to in their construction, nothing like the active participation in a snow-person existence suggested by the following images:
My created snow populations resembled more the following snowmen installation in Moscow:
--(this file, from wikipedia, is licensed under a GNU Free Documentation License)--
though on several different scales within various systems of enclosure; members of my snow populations were often smaller, the size of dolls in the (at this time) popular American Girl Doll series --Addy, the 18-inch tall doll featured at this link is the model of American Girl doll that wears the dress I made by hand that is the cover of Slave Moth, a novel in verse.
(photo by Thylias Moss of Addy doll as Varl, narrator of Slave Moth)
My perceptual system of enclosure in which the making of snow populations occurred, was not perceived by me as an installation until now, a reconfiguration (of the prevailing defining boundary) that invites a revisitation (beyond the one occurring right now) that I will pursue.
SO MUCH FOR ESTABLISHING AN ENCLOSURE SYSTEM OF CONTEXT
for the video poam that follows: Ostrich Culture of Snow Men
in which a particular iteration of a (linked, perceptually, archetypically) a member of a (form of) snow population is relocated to (forms of) a place where interactions with an ostrich occur, and the interactions in that place where (form of) snowman and (form of) ostrich intersect (some aspect of surfaces meet); the interactions in that location further interact with a sonic form (language-based expression) of the print poam The Culture of Snowmen (which may be read in Tokyo Butter).
--magnificent making and elements of damage that are tethered to:
January 08, 2008
Open Invite to Navigate an ATLAS OF LIMITED FORK Navigational Systems
Welcome New and Returning Forkers!
Please take advantage of all (we'll talk about allnesses soon, but without --necessarily-- ever saying all that may be said about a single allness let alone all allnesses) that this blog --that you are joining in progress-- has to offer.
I will be pointing you to various posts from time to time, but you do not have to rely on my prompt to delve into the archives of the Intro to [Limited Fork] Poetry blog.
This post features a video (you'll need real player in order to view it) from early in my writing life, from a time in which the present Proforker self-identified as a writer instead of as maker, my preferred enclosure now.
This pre-fork video of a poetry reading, a term I would not use now when given a choice, is a map of a prior location of body and mind (a map of prior body/mind stations that I did not put online; a map I found while searching for something else; perhaps you can locate some paths to Limited Fork sensibilities here, but if present, they were deeply embedded and/or encrypted so that I could not access them then.
That this location may be perceived as being on the Limited Fork path is possible since I was there before arriving where I am now, all forked (though not yet to the max); however, the location in the following video may not one that made Limited Forkiness inevitable. While this location (part of --a branch-- of the significance of initial conditions) may have imposed some limiting factors, those factors did not then make Limited Forking the only possible path; the inevitability (a form of) happened some years later in the Quality 16 cinema (refer to DOD: the death of depth an Intro to [Limited Fork] Poetry post).
This is a map of an aspect, a facet, an angle of some of the *surface* of what I've become now that I've been forked:
(source image by Strexx of strexx.com)
Here's more: another aspect, facet, angle of some more of the *surface* of what I've become now that I've been forked:
(source image by Strexx of strexx.com)
Speaking of surfaces, what's your take on advantages and disadvantages of mapping (only) surfaces? What are (some of the) relationships between surfaces and volume? What is the purpose of advice to not confine written commentary to the surface?
Consider the problem of surface-based rendering in this image
from the Computer Integrated Medical Intervention Laboratory. Explore the full context there.
and think about ways in which it could be appropriate to think of surface-based rendering as a function of print poams (products of acts of making) as a function of surface-based rendering of (an) idea.
Please accept this open invite to navigate an atlas of Limited Fork navigational systems
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