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:
Posted by thyliasm at January 15, 2008 01:36 AM
I have never made a snowman--eExcept for one failed instance when I was eight that involved towo large lumps of snow that my dad tried to put on top of one another--but driving back from a skiing trip this weekend, I saw snowmen that looked like that ones you showed here, and I thought of this class and the creativity that people show in everyday ways.
Posted by: kjmath at January 24, 2008 02:32 PMLogin to leave a comment. Create a new account.