Limited Fork Theory Atlas

REALITY OF IMAGINATION (some strange maps of framing systems)

YOU ARE HERE:

(in configurations framing [and framed by] educational space

(from Catenary a blog that identifies this image as xkcd's map of online communities from xkcd - a webcomic of romance, sarcasm, math, and language, a location to which you can navigate with a click to experience this comic cartography in an intended context)

You are here making a presence, offering a voice among millions of other voices, but YOU ARE HERE, and your articulations of rationale are evidence that you have something to say, convictions of articulation that are willing to say in a public forum, that you are willing to commit to;

Findings of your investigations of framing systems that can meaningfully connect limited forked poetry to anything else prominent in your lives are here:

have a look at some visual samples as framed by this post right here:

Forms of contemplation and activism above and below, in multiple directions in multiple dimensions.

(related to this video from forkergirl at youtube::

(related to this video: Caleidoscope from hunbullstar at youtube) (which is related to "Albert Einstein Quotes," a video from joeny 4523 at youtube):

--do take notice on the Einstein quote on imagination as more valuable than knowledge, related, of course, a bead, in a limited fork theory necklace, and related to these text poams originally published in The Canary:
Absolute Hairlessness and the Cannibal, Crops of Universes, and Ever Since Crib Days by Thylias Moss, text poams from LFMK, which take place in shadows of Einsten, some of which appear in text form at the tops of a first page of each text poam,

a text poam system related to the video poam LFMK by forkergirl at youtube:
And so the necklace grows...

Here is the necklace as a bifurcating system of forking paths:

And now the necklace is laid out as a blanket, the sound of its descent, sound of contact made as it touches something that also touches it --sonic connections are forms that enter the listener; sounds actually enters ears as forms of doors and windows, traveling to the brain. Listening is a tactile activity, as this image helps us understand:

These images from Nick help to reveal a possible ordering framework underlying some of the beautiful, kaleidoscopic symmetries of movement in interactions and temporary connections in Limited Fork systems:

(to view these images full size, please visit Nick's blog)

And this image offers a composite possibility, composite option, a moment in an interaction set in which there is apparent merger as an outcome of a consideration that places the participants of the interaction set on the same plane of consideration if not on the same physical plane (not that a dimensional plane must have physicality as known in three-dimensional realities):

Such composite outcomes, such collaboration can lead to a need for reconfiguration of terminology used in considering mergers; language forms for referring to emerging understanding and configurations of experience can also emerge, such as in this Maquieira example:

Somehow experience is packaged, and carried with us in various forms, some compacted, compressed, forgotten until/unless some trigger that can retrieve the lost arrives or can help something not previously encountered seem more retrieved than new; but this framing of experience is configurable, and is a form of translation, sometimes into forms, language systems we think we do or can understand in some form, even mistaken understandings which can be the source of insight, conflict, pleasure, beauty, or anything else that can be derived from a source

such as this translation:

Do we shuffle configurations of configurations? Within these systems of intersecting and non-intersecting configurations might there be only configurations, only frames that frame each other instead of something other than frames? Laura linked to this this video that is a configuration of configurations insisting on substance --that the filmmaker could be involved in acts of making and have a poam that is nothing, without, in some configurations of nothing without any form of substance is interesting; well, here's the nothing:

A welcoming of frames as indicators of charmed existence, existence configured to support the meanings possible within the configurations.

Charmed language system, absolute reliance on language to be able to express, even if only through equivalence, extended symmetry courtesy metaphors; absolute reliance on language systems for the conversion of anything into processable forms,

doors and windows, holes in language, ways into language systems, wys out blocked by language systems, the doors open, but language systems naming them doors

but the beauty of the cracks and creases, the folds in flexible systems, the endless coastlines possible as increments of measure become smaller and smaller,

yet still visible here:

And if hatching from here,
in living visual and sonic colors:

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Even what is thrown away, even those sonic and visual bits that fall through tines into sometimes fascinating loops, can be available for interaction,
often with another intangible part of many selves: conscience,and/or insistence on aesthetic expression
(sometimes so that these objects of expressions that are right here with us can take us to places beyond us)

ALL as CONFIGURATIONS OF PERCEPTUAL FRAMING SYSTEMS

STRUCTURE FORMS AND REFORMS, FRAMES FORM AND REFORM, NAVIGATING IN AND OUT OF EXQUISITE (on some scale) FORMS THAT FOLD AND UNFOLD, ARE ALIVE WITH FORMS OF BEAUTY (according to this perceptual framing,reframing tool-set, that perceptual framing,reframing tool-set)

including the beauty of:

A Last Physical Gathering (of the 340)

Tonight, we meet and share our evolving investigations of framing systems.

We meet in this physical manner in DL1 for a final occasion, but it is likely not, it is hoped, the last time that there are chance interactions, not the last time that meetings occur in thought, influence, practice, and/or imagination

--until such time, such location (if ever) that no evidence, even of memory fold(s), remains, and you forget all about forks (no matter how limited they are to being remembered on some scale, in some form, for some duration of time).

Assuming no end to growth in some form on some scale
in our investigations of framing systems, we designate a particular
time to share the current status of our ongoing (the rest of our lives, at least) work.

Tonight is the night to demonstrate what your framing work is mapping;
to share the status of your framing system investigation as of 6 pm.

We share, and we continue to map, continue to grow in/through/with our investigations of framing systems.

I share with you here what has emerged
so far in my own investigations of framing systems,
a slideshow of my graphic prose poam:

and this video poam:
Wannabe Hoochie Mama GALLERY OF REALITIES Red Dress Code

See you tonight!

Remember: framing (packaging) of your investigation of framing systems need not be submitted until next Monday.

Here's an example of a mapped framing system:

(from cross the breeze where you can experience this framing system in an intended context)

Go to Strange Maps for more examples of mapped framing systems.

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]]> Those of you who have uploaded framing system videos to you tube can also submit those videos to play gallery: an online video gallery from the School of Art & Design.

Just add the tag playgallery to your youtube video, and fill out a playgallery submission form.

Selected playgallery videos will be shown on Michigan Public Television. At this time, only videos :30 - 2:50 minutes can be considered for Michigan PBS.

OTHER WAYS TO SAY IT --(frame it)-- IN A SYSTEM WITH A SYSTEM

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interaction:

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poam:

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nonlinear:

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tines:

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thylias:

**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.

And
(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
HAZARD RATINGS

--but if you're desperate, the risk is yours to ponder.
Here's some examples:

Plate Your iPod
Soup-Can Searchlight
The Worst Way to Inlay
Melting the Unmeltable
Smelting in a Microwave
Seeing the Subatomic
Dry Ice Cream

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(from add letters.com)

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Take a look at how Bill Seaman is saying what he's saying.

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MORE TOOLS TO SAY IT MANY WAYS:
Magnetic Poery online
Random Haiku Generator

Book Autopsies by Brian Dettmer for aesthetic purposes
Hollowed out editions of your favorite books

(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
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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):

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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:

(you can get this image on a t-shirt from stamp and shout.com where the image may be experienced in an intended context)

This is what the coexist image sounds like using sound of an image from sky fell.org:

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AN EARNED BADGE:

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).
(remember?): ()

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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

(remember the mardi gras beads?) (the tactile model of apparently instantaneous travel from one location to another? direct bead-to-bead transmission and transport? the lovely loops of omission hanging tough, moving, existing, even expanding in forms of negative space? the flowering of flowers of omission as the loops, outlines of petals, outlines for not apparently existing in particular circumstances in particular realities? --remember that; account for that) (images from: sparkle plenty, ben @ WWDC, and glass attic.com where they may be experienced in intended contexts)

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:

Marsalis said the art form of jazz originated from the blues, and as such we're always prepared for tragedy (from auditions.com)

(prepare for more beads, more mardi gras, more making): (more points of spatial and temporal locations, more beads of spatial and temporal locations)

(from a screening of Mardi Gras Beads: Made in China at Mount St. Mary's College; includes comments by students)

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(Cocaine Blues, Rev. Guy Dabis arrangement from Olav Torvund's guitar site where the image may be experienced in its original context)

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.
(from sherry chandler.com where the image may be experienced in an intended context)

(Esher Hands 2 from inro to computers and programming @ nyu, stret sign from ben @ wwdc, apple address from VFCPUG online )

click here to enlarge (song lyrics as print poam located at san mateo college, tragedy of the commons class)
listen to Sweet Honey in the Rock sing Are My Hands Clean:

(from Lackey's Class Links where the image may be experienced in an intended context)

listen to Herbie Hancock's arrangement and keyboard performance of St. Louis Blues:

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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.... .... .... .... .... .... .... ....

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**** ****

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
(MILDLY DIFFICULT)

?
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
(MODERATELY DIFFICULT)

??
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
(HOT!!!)

???
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.
HERE. This has the ability to heat up your projects, so dig in and bifurcate away. THIS POST ITSELF is a poam. This post itself is a journey.

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.
don't click here to add more points of configurable growth components, these in the form of: THE GOLDENRIDGE SECRET ROSARY BEAD FACTORY (from butterflies and wheels)

SAY WHAT?

DO THIS:
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.

Enjoy!
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FINE PRINT

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.

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.

This

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.

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Millennium Peaches

(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,

part of a Limited Fork podcast system at iTunes: Limited Fork, Limited Fork Music,
and the Limited Fork Video Anthology (which hosts student forker videos).

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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.

Here
you can read the installation window text (Cogs in the Glass Machine),
or read it at the Limited Fork podcast.

A System of Temporary Framing, Shifting Frames

Consider framing and interactions in

STYLE
Flaubert wanted to write a novel
About nothing. It was to have no subject
And be sustained upon the style alone,
Like the Holy Ghost cruising above
The abyss, or like the little animals
In Disney cartoons who stand upon a branch
That breaks, but do not fall
Till they look down. He never wrote that novel,
And neither did he write another one
That would have been called La Spirale,
Wherein the hero's fortunes were to rise
In dreams, while his walking life disintegrated.

Even so, for these two books
We thank the master. They can be read,
With difficulty, in the spirit alone,
Are not so wholly lost as certain works
Burned at Alexandria, flooded at Florence,
And are never taught at universities.
Moreover, they are not deformed by style,
That fire that eats what it illuminates.

HOWARD NEMEROV
(from Poem Hunter)

If you'd like to frame your interaction with Style with more information about Howard Nemerov, click here

**(what are the benefits/disadvantages, etc. of this bio frame, and the effects of using it after having responded to the poem, instead of framing your responses within this bio context [frame]?)**
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Now consider systems of frames/framing and interacting systems in:
(click Me and Bubble went to Memphis for larger form)
related to (interacts with) the following video:

Symmetry Hunting

In dynamic systems of language-based expression such as Limited Fork systems and in other dynamic systems, activity (on some scale) occurs, so on some time scale, the system tends to change (on some scale); structures tend to form and reform. Other theories in detecting, creating, and/or harvesting similarities and patterns also become tools of symmetry configuration.

Something happens in dynamic systems.

There is a tendency for reconfiguration
(perception itself can sponsor reconfiguration, consideration from various angles and perspectives, including time-based perspectives, can reconfigure the frame of consideration of a system).

There are (forms of) attraction based on circumstances and properties (and property's) between interacting constituents of a system/subsystem.

Dynamic processes (or systems) of thinking tend to be involved in the shaping of poam systems of maker(s).

Generally speaking, (in some way) to something also in flux (though not necessarily on the same scale), and is made by something also in flux, in circumstances also subject to change (on some or multiple scales).

In these oceans and universes of flux, certain patterns, certain archetypal forms, tend to occur and recur. Limited Forked metaphor maps some of these links, establishes tethers that themselves form active systems or communities of links (whose shape, whose architecture tends to be configured and reconfigured on some scale).

When there is some regularity in the ongoing activity, when systems are passing through stabilizing states, symmetry is increasingly likely to occur on some scale for some duration of time.

Another word for the activity of systems (often) is growth.
Transformation is another term that can refer to activity that reconfigures a system. Limited Fork can be understood as a transforming tool, a tool that can use an implied growth in metaphor to create, identify, and/or harvest symmetries.

Think about and comment on relationships between symmetries and opposites, an opposite as a form of symmetry, for instance.

(image by Marian Bantjes, as credited at A Festival of Likeness

This growth is influenced and shaped by responses to forces encountered, actions and reactions.
And adjustments that might balance a system or subsystem tend to move toward, and often achieve (some form of) symmetry.

(pattern of growth symmetry from Symmetry in Nature where you can experience the source context)

Please read, think about, and comment on pp. 1-21 (at least) in Symmetry by David Wade.

Please read, think about, and comment on symmetries (connections) within and across scale, that you can make with SEMM images on pp. 130 in Super Vision

You can find possible symmetry-links (metaphor links) on multiple scales throughout Super Vision.

Here is an image of Van Gogh's Starry Night from the Museum of Modern Art, New York, by way of Art to Heart Call to Worship, that you can use in your consideration of the SEMM image on p. 126 of Super Vision:

This image of Van Gogh's Sunflowers may be of use to your consideration of the SEMM image on p. 130 of Super Vision:
from Wikipedia Commons.

Please also identify symmetry in a print poam from Poems for the Millennium and Tokyo Butter.

Listen for (and comment on) sonic symmetry in (portions of [allnesses of] The Whole Thing's Coming Out of the Dark by Samuel Beckett (at The Whole Thing's Coming Out of the Dark here (Samuel Beckett.net)

And, view, think about, comment on this video iteration of an allness Come and Goby Beckett:

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**

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:

(this file, from wikipedia, is licensed under a GNU Free Documentation License)

(this file, from wikipedia, is licensed under a GNU Free Documentation License)

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.

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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:

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).

FreeVideoCoding.com

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)

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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.