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January 29, 2008

Space as a Surface for Surfaces and Volumes to occupy

We continue to sculpt and imagine protocols of occupancy of space, including possibilities for what can happen to volume when it is reconfigured for 2D occupancy

--oh yes, yes, yes--

When the object is deprived on those very attributes that make the object a thing that can be separated from the landscape.

(when there is --coming soon to a Limited Fork post near you-- framing)

And a space in which any state of matter is fused, the flattening of the states, the suppression of fluidity, the silencing of separation --for can the wind still move, the gasses, the smells

but without volume, shifting, shimmying, shuffling flatly about the 2D space --you know about Flatland of course,

you can read Flatland here, for a first time aand then or then again and again because you want to


cover of Flatland from Wikipedia Commons

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So mind or object? An external reality, difficult to extricate from a perceived, experienced reality (--so many of these!--) or realties in the mind, imagined, constructed realities --not that it's an either/or consideration; I submit to some conventions of expression.

Assumptions, including that the imagined perhaps should be subordinate to an external (more trustworthy? more objective? reality --though it has been processed by a, well, mind) reality

are hard to be aware of much less to actually overcome

--how aesthetic product is ranked, valued, and so forth; that aesthetic expression cannot be quantified (that the forked maker is held accountable for gestures made in language-system based expression)


(a sample of Helen's childhood writing from

WELL, here are some links to Helen Keller bio pages with links to her books in which she describes color, sound --as these things exist for her within the mind that constructs visual and sonic representations or alternate realities (in which it is possible to overcome physical laws)

To assist in your consideration of these ideas, please read, think, about, and comment on (in the context --a frame-- of your emerging/evolving/continuously filtered and refined projects) the following: pp. 502-518 and 770-773 Poems for the Millennium

Posted by thyliasm at 05:59 PM | Comments (0)

January 22, 2008

The Text-based Poam as Sculpture - attempts at existence in (various configurations) of space

By now, you've probably examined, in Poems for the Millennium:
from 3 x 111 TRISTYCHS: Second Series,and you've probably noticed the numbered sections of the piece, the implications that the gaps between them may be more complex than the actual spacing on the page --a multi-faceted concept of space is being sculpted as well, which is to say that the shape or configuration of space in the realities depicted here may not conform to the configurations in other perceptual systems.

Elements of Second Series content interacting with space can help to account for (aspects) of the configurations of space that emerge as the print poam unfolds in both configurations of space and configurations of time.

That the print poam has the shape or structure that it has in its occupancy of the page in the anthology in part is an outcome of the limits of the anthology page (as determined by a number of factors)

and in part a consequence of (versions of) what can occur when multi-faceted, dynamic, complex ideas that can exist in multiple dimensions are compressed in order to be accommodated by the flattened surface of a paper page.

Compression of dimensions can suggest proximity of elements in a poam, proximity that can diminish as dimensions are uncompressed.

A shift in scale is a way to release (or further compress, depending on the circumstances of the shift) aspects of dimensionality.

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Please examine Super Vision and identify two or three examples of something that could be referenced by blue song in listing 14 in Second Series on p.95. What is some of the impact that the scale of the blue song candidates you find in Super Vision has on possibilities for listing 14 and listing 26?

Please extend/link your findings to the context(s) of your emerging project inquiry.

***
Here's an image (from Nanotechnology at NIST) of Structure made with a scanning tunneling microscope at the NIST Nanoscale Physics Facility. The larger blue peaks are pairs of cobalt atoms, while the two smaller peaks are single cobalt atoms. The swirls on the copper surface illustrate how the cobalt and copper electrons interact with each other.(Read More) that appeared in a search for blue song - semm:

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In interacting with this print piece, an active or immersed reader has opportunities to allow a more complex dimensionality of the ideas to expand and assert itself within perceptions of the reader who becomes a co-sculptor of the space, content, and time in which the event (or encounter) unfolds.

Within the limits of the language, and within the compressed structural guidelines/clues of the 2D iteration of the complex Second Series concepts, the structure of the ideas and their occupancy of space, including sonic space, is (at least seemingly) endlessly configurable, reconfigurable.

At least one possible configuration can be an outcome of interactions of the lens of your 414 angle of approach (or forming/emerging project focus) and the system of the print poam.

Please comment on possible a configuration of an allness of this print poam.
The form, or structure, of the comment is open, and includes an attempt to map some of the complex or dynamic occupancy of space that is possible for that allness of this print poam.

Enjoy!

Here is an example of a sculpted equation by Hiroshi Sugimoto (as it appeared in the New York Times on the web) :

Please go this Sugimoto conceptual forms slideshow link to see more examples.

It is possible to process Second Series as instructions, as code for the construction of conceptual landscapes.

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In actually sculpting the language, in this case, a single word on a paper ribbonLisp,


Ed Ruscha gives the word more spatial and dimensional occupancy. texture and volume make a greater demand for consideration. The ribbon does not lock Lisp into a single form; the fluidity of a ribbon of cursive expression means that the letters need not hold their shape or legibility. Lisp becomes a system in which interactions configure and reconfigure meanings and possibilities according to circumstances at specified times/locations.

Ed Rusha, Lisp, and Lisp detail from National Gallery of Art.

"CREDITS

Web feature written by Sally Shelburne, designed and produced by Donna Mann, and edited by Ulrike Mills. Thanks to Jeffrey Weiss, Barbara Moore, Phyllis Hecht, Lesley Keiner, Ira Bartfield, and Ric Foster for their contributions to this project.

A special note of gratitude to Ed Ruscha and his staff for their generous assistance in the development of this online feature.

NOTES

1. Neal Benezra and Kerry Brougher, with contribution by Phyllis Rosenzweig. Ed Ruscha [exh. cat., Hirshhorn Museum and Sculpture Garden] (Washington, 2000), 144.

2. Benezra and Brougher 2000, 147.

3. Benezra and Brougher 2000, 145 and n. 1.

4. Yve-Alain Bois, Edward Ruscha: Romance with Liquids, Paintings 1966-1969 [exh. cat., Gagosian Gallery] (New York, 1993), 15–16."

Text & credits from National Gallery of Art

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Preliminary Studies for the Frankfurt Readings 1984 by Ernst Jandl offers slices of sculpture. The layering of the slices can result in 3D (or nD) representations of mouth that can emphasize its strangeness. Though familiar to us, it can still, under close study, become alien, especially as shifts in scale reveal more of the aspects of mouth outside the limits of unaided human perception.

That these are preliminary studies suggests that other, perhaps more realized forms, were actually presented at the Frankfurt Readings.

These are beginnings, not endings. These preceded something else, even though the something else is not disclosed.

Studies 2 and 3 offer aspects of the mouth; in fact, these studies may be considered as sub-studies of the mouth as servant.

Depending on variables of experience and identity that the reader brings to the studies, different findings may become more important, more evocative, more inspiring, more noticeable to the reader, so what can constructed with these studies is quite variable within the limits of a foundational (or given) situation (to function here as an initial condition) of the mouth as servant,.

To what you construct with studies of the mouth as servant, I'd like you to find a meaningful way to include these visual studies of things to do with your mouth[as servant] by Melinda Lee:

As these images from Melinda Lee interact with Jandl's print poem and understandings your have about mouth and your emerging area of 414 focus, what happens to mouth? What kind of space do the emerging and evolving or dynamic configurations of understanding/meaning occupy?

The dynamic nature of existence encourages the use of time-based forms of language system expression. This is a more participatory means of establishing meanings (which are temporary coherences, temporary ways for a structure of system of structures to hold)

Coming Attraction: the attractiveness of non-adjacent similarity as cloned symmetry as experience is ordered (even just by participating in experience)

and, related, of course, an opportunity, from the UM Arts on Earth Initiative for:

Posted by thyliasm at 10:57 AM | Comments (0)

January 08, 2008

ANYTHING NECESSARY

In the Limited Fork Theory Development Practicum, there is a commitment to exploring whatever emerges as possible as we study interacting language systems: any/all visual, sonic, olfactory, tactile systems/subsystems on any/all scales

toward boosting and extending the aesthetic and practical output of language-system based expression.

To start, I offer a peak at some of a Proforker's evolution with a pre-fork video of a poetry reading, a term I would not use now when given a choice, that 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, or to Limited Fork sensibilities here. but if present, they were deeply embedded and/or encrypted so that I could not access them then as access points to anything particular.

You'll need, if you don't have it, real player in order to view this video from early in my writing life, a time in which the present Proforker self-identified as a writer instead of as maker, my preferred enclosure now:




FreeVideoCoding.com

Now examine three takes on text-based visual representations of a Proforker merging with elements of Limited Fork Theory:

take 1: open invite to navigate an atlas of Limited Fork navigational systems


(image from the Proforker collection of captured interactions; go to Shadows, Boxes, Forks, and "POAMs", an interview by Richard Siken, for more about the collection)


take 2: eye of fork


(source image by Strexx of strexx.com)


take 3: some of the words for elements of damage

(source image by Strexx of strexx.com),

Take 3 is related to the video poam
HEAT DOZENS: Elements of Damage:


FreeVideoCoding.com

This video is related to the video poam
HEAT DOZENS: Architecture of Simmer
(on the forkergirl channel:

Both of these videos are related to the Neurological Winter post

in A Limited Forker Girl's Tines blog.


(The entire HEAT DOZENS suite, as presented in the Arts and Minds conference is available in the Limited Fork podcast at iTunes)

Posted by thyliasm at 12:37 PM | Comments (0)

Welcome to the Practicum!

This is the mouthpiece of the LIMITED FORK THEORY: Development Practicum

First order of business: post a link to your blog as a comment in this post,
and two-way, three-way, n-way mouthing off can commence.


Be sure that (a form of) 414 is part of your blog's title.


--need help making a clickable link? Help is available in DL1 tonight! 6-9 pm.

Posted by thyliasm at 12:32 PM | Comments (38)