March 22, 2008
OTHER WAYS TO SAY IT --(frame it)-- IN A SYSTEM WITH A SYSTEM
**All images by Theodore Gray from his periodic table (and related, available poster).
Click here and go to Theordore Gray sponsored fun science stuff, assorted Gray links,
including spelling with the elements.
(in case you still need a project, and the desperation factor is kicking in)
links to ideas for the intrepid (which could easily include forkers)
that I am not recommending; try them at your own risk!
Gray lists them
--from his Popular Science column HOW 2.0-- with appropriate, earned
--but if you're desperate, the risk is yours to ponder.
Here's some examples:
(from add letters.com)
Take a look at how Bill Seaman is saying what he's saying.
(image of Brian Dettmer's Book Autopsy from Future Feeder.com)
Next: The Illumination of Word/Meaning Mapping/Framing as Neural Network
—I hope that you enjoy (and use often) this online graphical dictionary
And recalling Shooting Blind, the collection of photogrpahs by blind photographers
(image from aperture.org where you can experience it in another intended context)
(see some of the photos here)
and Touch the Universe the first ever book of images from the Hubble Space Telescopes in Braille
(read about Noreen Grice's pioneering work in see-saying it HERE where you can also learn about an expanding line of touch books: the sun, the stars, the moon, the invisible sky
because illumination/framing for you and for the blind continues with Seeing with Sound: Vision Technology for the Totally Blind --be sure to try the downloads (the application is for windows only at this time, but the other downloads are mac compatible), the examples, the everything the site offers: See for yourself!
And listen to this related--isn't everything? link-link-- light-sound connection (from chandra x-ray lab at Harvard):
It is now possible for you to listen to images.
At sky fell.org You can download an application that will transform your image into sound
Here is an image quite appropriate for the reconfigurations that Limited Fork Theory encourages:
This is what the coexist image sounds like using sound of an image from sky fell.org:
AN EARNED BADGE:
March 13, 2008
frame style: preparing to expect the unexpected
This is about readiness; the readiness of the fork to seek and find --because this is a dynamic framing system able to modify, to adapt, to imagine and create possibilities that can try to unlock that which can seem apparently unlockable.
Look, then look again, other angles; extend, stretch, enter --and examine; see as you think it is, as you think it isn't. What can be done to build cases for that which cases do not yet exist? May be consistently rejected?
--We're on Tines Drive; we're at intersections from which any direction on any scale that is possible may be accessed in some way for some duration of time--
Identify those underlying assumptions that become fused into what's assumed to be structural integrity too easily; assumptions which may not be necessary at all; that do not support viability (in some form on some scale for some duration of time).
BE PREPARED to develop a rationale for any gesture made, a studied rationale; multiple rationales in configurations and reconfigurations of thinking, of idea, of approach, of what is being approached, and so forth. DOCUMENT what happens, what doesn't happen. (for as you demonstrated, interaction marked the paper, affected volume, constructed locations that enhanced the paper's capacity to interact, retain, shape and be shaped, etc. And even when unfolded, the unfolded form was not as flat, contained evidence of encounter, evidence of having interacted, was marked --on both sides-- by circumstances of interaction, and you are marked also, externally, internally --document these systems of marking, this evidence of your interactions with systems of framing.
BE ACCOUNTABLE for aesthetic decisions. BE ACCOUNTABLE for information.
ALLOW SOMETHING TO MATTER TO YOU THAT EXTENDS YOU, CONNECTS YOU
Context is flexible. Forked content is even more flexible, though an exactitude of measurement is unlikely, for the increment of measure, context of increment of measure is so variable --limited to being forms of increment of measure, but infinite within that limit; bounded infinities, infinities of varying sizes, some smaller, larger than others, all apparently equally infinite.
(fork up signs of your own at add letters.com)
Apparent logic-sets particular to a certain location on a certain scale for a particular duration of time
may be applicable, in that exact form, assuming an ability for exact duplication and assuming that logic-sets themselves don't adapt, change themselves; assuming a momentary impermanence, that logic-set may not apply outside the specifics that allowed the logic set to seem logical when examined in that exact mode of examination
(and because of that, the opportunities to have fun with a fork blow up in magnitude --extremed magnitude in any direction in any dimension on any scale).
magnitude adjustment here, please --this one visible; others that precede, that are concurrent, that are embedded in, that encompass some parts of this one may not be adjusting within the range of a human visual perception mode
This remark about jazz deserves saying, this remark made by Wynton Marsalis when asked about the impact of September 11 on on (his) music --the interaction/intersection, possible reconfiguration of jazz:
There is something in the dynamic structure of the blues that supports, that expects adaptation to circumstances; a complex adaptive system of making, communicating, understanding, responding, clarifying, and so forth.
Now a little (370x290, stacked) more something about apparently infinite loops, manufacturing, & hazards of irresponsible making, the status of hands, more heavy necklaces, even an inner necklace of tooth, an inner necklace of bone, atomic necklaces too, reconfiguration of cellular necklaces, outcomes of interactions all.... .... .... .... .... .... .... ....
Now in my online navigations in which I configure a particular route, in which this post is marked, in which I configure a particular system of configurable tethers, each point both a location of connection and a location of possible bifurcation or GROWTH, I wasn't necessarily seeking some reference to my print poams, but I did indeed find it as I prepared this post about preparation, about being ready and able to find something.
In Stephen Burt's Close calls with Nonsense (How to Read, and perhaps Enjoy Very New Poetry), I am listed in the inset Very New Poetry" Where to Start in the third section, after One Question Mark (mildly difficult), and after Two Question Marks (moderately difficult) in the Three Question Marks (Hot) section.
The complete list follows:
VERY NEW POETRY:
WHERE TO START
(A partial and
partly arbitrary list)
ONE QUESTION MARK
Killarney Clary, Potential Stranger
Laura Kasischke, Fire & Flower
D. A. Powell, Cocktails
Donald Revell, Arcady
C. D. Wright, Steal Away
Tracy Philpot, Distance from Birth
TWO QUESTION MARKS
Mary Jo Bang, Louise in Love
Lucie Brock-Broido, The Master Letters or Trouble in Mind
H. L. Hix, Surely As Birds Fly
Mary Leader, The Penultimate Suitor
Mark Levine, Enola Gay or Debt
Harryette Mullen, Sleeping with the Dictionary
THREE QUESTION MARKS
Rae Armantrout, Veil
Forrest Gander, Torn Awake
Thylias Moss, Last Chance for the Tarzan Holler (a brief review in this location)
Jennifer Moxley, The Sense Record
Lytle Shaw, The Lobe
Liz Waldner, Dark Would (the missing person)
This is where the tines get hotter than Burt, as generous as he was, three habaneros worth of generosity, more heat now --because another tine may be forked, may bifurcate, in imagination, if nowhere else --those universes of the mind within universes of the mind.
As you form your posted responses (for you've got to respond to these posts in your blogs, and there's only going to be another major fire before you have time to stoke and tend to blazes already started in your blogs);
as you form and frame and configure and reconfigure your response to this poam post, examine the notes in the music as beads, and the beads as images (work with a half dozen that you'll identify) in Super Vision and reconfigure them as points in your projects --BUILD SOMETHING MAGNIFICENT.
AS YOU FORM YOUR RESPONSE TO THIS POST, YOU WILL BE CONNECTING DOTS.
YOU WILL BE CONNECTING FORMS OF BEADS.
YOU WILL RECALL THAT STRANDS OF MARDI GRAS BEADS HAVE SERVED AS MODELS FOR METAPHOR
AS A TOOL OF NAVIGATION AND THE BUILDING OF KALEIDOSCOPIC SYMMETRY.
THE DOTS THAT YOU CONNECT WILL COME FROM YOUR PROJECTS, NOTES IN THE MUSIC, AND A HALF DOZEN IMAGES FROM SUPER VISION.
Build something magnificent --no matter how briefly the converged structure endures. Document what happens. You are seeking to advance your project; you are seeking additional angles of meaningful consideration though the making of the structure to which your projects and FORMS OF BEADS in this post and in Super Vision contribute.
THIS CONNECTING OF DOTS (OR BEADS) MAY OCCUR IN ANY FRAME SYSTEM YOU CONSTRUCT.
YOUR FRAME SYSTEM MUST RESPOND TO THIS VARIABLE SET THAT HAS ARRIVED AND BECOME AN INTERACTION SET.
POINTS, SPATIAL LOCATORS, BEADS, CELLS, CONSTELLATIONS, GEARS --ESTABLISH A REASON TO CONSIDER THESE UNITS AS POINTS OF CONNECTION IN SOMETHING YOU ATTEMPT TO BUILD (for a reason beyond my having provided an occasion for you to consider what you would be considering even had I now apparently enabled the occasion. OUT OF THESE PARTS.
YOU WILL BE LINKING BEADS AS YOU IDENTIFY WAYS OF BRINGING TOGETHER (for some duration[s] of time on some scale[s] in some location[s] A HALF-DOZEN SUPER VISION IMAGES as beads, MUSICAL NOTES IN THIS POST as beads; THESE LINKS WILL ALSO LINK TO YOUR PROJECTS AND/OR CAN OCCUR WITHIN YOUR PROJECT FRAMEWORK.
Okay: only one more, besides this one, post of a MAJOR framing experiment for you to conduct and place in your blogs
(one more plus any you haven't completed).
Remember: if you have not responded to the assigned posts in this blog, do so in your blogs.
If you'd like to extend ideas already posted, post again! GROW!
One post is not assumed to be THE response to a post of mine --your posts may interact.
Your blog supports idea systems.
Everything (that you'd like me to consider for the class aspect of your thinking and journey) is due in your blogs, so that I have enough time to respond before having to submit grades, by midnight EST on 21 April 2008.
Everything includes: thoughtful responses in your blogs to posts in this blog (some of which are to be thoughtful responses to readings assigned in this blog), comments in class blogs, your project and related documentation that articulates rationales for the gestures made in the exploration/investigation/navigation of your project which is also a vehicle through principles of Limited Fork Theory.
You may at any time extend thoughts begun in your earlier blog posts.
You may at any time revisit posts made in this blog.
You may continue do this after 21 April in your continued commitment to iterations of ideas that remain important to you, or that perhaps become even more important.
The blog is yours, and you may continue these blogs or not --but have a reason,
I hope other than a fact of the class (apparently) ending.
The fine print assumes you've chosen projects to which you are prepared to commit, to think about for the rest of your lives --that's part of what makes this print so fine.
On the last day of class, 14 April, we will have presentations of projects and project outcomes in DL1. The public is invited.
March 12, 2008
ooh! --it's: Place.Mark & the graphic prose poam
Right now (this now is deceptive in its inability to apply well to nows that come after 28 March, but now)
at Work Gallery on State Street opposite Shaman Drum bookstore
the Place.Mark exhibition is underway,
now through 28 March.
And at the Place.Mark exhibition,
you can see my graphic prose poam: eight 20x30 panels.
is a low-res slideshow of the panels,
but I promise you that the installation is quite a bit different, so if you're intrigued,
do go and see it large.
Oh, I was thinking heavily about frame systems when I made this piece,
when I conducted this experiment,
this outcome of mad Limited Forked Theory science.
(Thylias Moss: vocals, arrangement;
remix of environmental experiment 109 from strexx audio lab where you can download sounds)
is the sonic artist statement, that you can listen to here, listen through headphones at Work Gallery,
and/or download here or from the Limited Fork Music podcast,
And, in case you missed it, this
is a slideshow of the installation, featuring the visual image work of Jim Cogswell
and the visual text work of the proforker Thylias Moss,
on the windows of the Work Gallery - Detroit.