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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.


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:


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.


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.


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.


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.


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


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 January 22, 2008 10:57 AM


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