March 25, 2008
Shifting of realities, construction of multiple forms of platforms on which multiple forms, sizes, and quantities of realities may exist
could require an ability to conceive of collapsible or flexible environments
so as to embed systems of varying dimensionality close to each other or even within each other
A form of flexible reality that may not first occur to someone pondering such possibilities is a stretching of what is currently possible to include attempted validations of imagined structures that have not yet necessarily been adapted to exist outside of imagination's (apparently) infinitely-dimensional realities
where there could be:
Some longing, for instance, for just a touch of some of the regenerative abilities of a sea star:
Take a look at this image:
from the Nature article Bridging the Regeneration Gap and imagine!
Then put your imagination to work in this video:
I remind you of what folding can enable, how additional locations and dimensions can be configured and/or simulated through addition/subtraction/twisting and so forth of layers extensions, some subsystem of surface
--Imagine how much can be embedded in infinite subsystems of configurations of our shared objective or three-dimensional space --imagine some of the infinite possible configurations into which our shared external objective 3D reality could be embedded
--without our knowing it for having no way to objectively measure that which lacks forms of objectivity objective devices CAN measure.
Here are some images of multiple co-existing configurations of realities as configured in projections from mental or imagined realities,
images that in their realization, in their ability to take shape in objective reality as a picture,
are necessarily transformed in order to inhabit a reality that differs in configuration (the protocols of what is/isn't possible
--which is to say that if it's not possible in a particular configuration of reality, it doesn't happen in that configuration but may happen, for some duration of time, on some scale, in another configuration
from the realities in imagination --a real place that is not an objective place, not an object necessarily at all, so does not have to adhere to rules of locations (apparently) governed by objective interactions.
So other differently constructed realities may be present on any scale in any location for some duration of time within objective realty without objective awareness of these presences, or, at least for now, means to objectively document them.
How irresistible it can be (for me) not to imagine idea as emerging electrically(?), somehow extending from the 3D brain,
perhaps similar to --a symmetry of-- 3D shapes rising, transcending, expanding,emerging from a 2D page in a pop-up, linked by folds, extension that can be retracted, that can adapt to/adopt strategies of occupying lesser-dimensioned realities by folding (in some way, to some degree) into them (for some duration of time on some scale, each dimension folding into other dimensions in apparent flatness.
Bubble vision: theories of quantum gravity suggest that the Multiverse may contain 10500 universes. applies)
Notice how mapping (framing) strategies of this next configuration of a multiverse adapts well with objective understandings and configurations. This configuration may offer bridging from a more objective configuration to a less objective, more flexibly imagined configuration.
and this image:
which suggests proximity, overlap, though not necessarily embedded and partially embedded or wrap-around and other mixed-form systems/subsystems of universes even though they may already be embedded with 3D reality within imagined locations where rules of objective perception may be at least partially overcome --for the brain itself, presumed host of imagined locations exists in 3D reality and interacts with the imagined realities it launches.
A multiverse as a platform for configuration of a print poam is highly entangled in systems of configuration (or framing) in Tokyo Butter.
If lines are drawn showing intersections and volume (dimensionality) each component takes on through extensions of partial --not exact-- symmetries of connecting, there would be, among many possible configurations, loops, eddies, dips, bulges, and so forth.
Consider horizontal mapping of Lake Deidre through vertically placed print poams in Tokyo Butter; Lake Deirdre intersects within itself, using points of contact as anchors, creases (a part of a folding system), a (temporary) tethering that supports blossoming, so the piece loops, connects, blossoms within itself and in interactions outside itself in print poams with which it has physical contact.
Folds can function as gateways to other configurations of realities, offering stabilizers and pivoting effects through which direction and shape may be altered.
Collapsible or flexible dimensionality such as there is in pop-up books suggests that acquiring and minimizing dimensions is active, an event; dimensionality is not necessarily permanent nor the same in all subsystems of a system. Dimensionality occurs and recurs, happens. 2D space in a pop-uo book does not expand from the page into an object form, that object status being much of the substance of objecttive realities, something measurable and meaningful in 3D occupancy.
3 dimensions are not the limits of what can be measured, but to apparently be able to maintain (for some duration of time) identity that at least in part on some scale is separate, not on the same plane, allows that separation to function as an object.
The 2D plane itself can function as an object.
And while shadows may exhibit motion, ability to extract shadows from their plane is difficult in the onjective dominance of 3 dimensions in shared external realties.
A layering effect, depositing of evidence of interaction can simulate apparent growth of dimension.
Repetition of pattern can behave as folds and bridges to forms of symmetry, bridge itself behaving as layer or dimension.
Some 3D printers make an object by printing cross sections from the bottom up, layers forming extension from the plane as in this video:
In the video environmental experiment 109 from strexx audio lab,
obvious multiplanal placement of visual objects, exaggerated in those interactions in which planes move on different paths, the point of intersection suggest a third dimension in this apparent detachment of an object from the flatness of the background video space.
It is as if an object is elevated, is above another or is under, depressed, at a lower level, so able to transcend or enter a volume space or dimension beyond 2D occupancy.
In an apparent anchoring that occurs at points of interaction or intersection, these points behave as folds.
Fold, as a unit of accordion or pleated flexibility aids in constructing forms of intersecting universes or realities in which intersecting systems are involved in shifting systems of dimensionalities.
That is to say that there are some constructions of realities on some scale in which dimensions are events and not necessarily permanent states of being.
Dimensions themselves may move, grow, shrink, etc. Relationships between dimensions, realities, universes can be very complex, the complexity itself forming compelling patterns.
Dimensions that can twist, inflate, deflate.
Without breaking, aided by folds or points to which temporary
anchoring can occur.
Dimensions that vibrate, that in their shifting make sound;
Dimensions that reproduce, thin, eat other dimensions.
Some flowers bloom, shift configuration, occupy space differently, so displace aspects of space, (temporarily) reconfigure the space that hosts the reconfigured blossoming plant. There is an apparent shift in surface area.
And a multiverse of petals (as some point) shuts down into a more compact form, perhaps by shedding its petals. There is a routine negotiation of form and configuration of dimensions (relative to anchor points, locations of partial attachment).
WHAT DOES/can EXIST in 3D reality
is super cluster geometriesaggregates, communities of multi-faceted structures which can contain multi-faceted structures (and can be contained by multi-faceted structures, including imagination as a multifaceted structure).
--of various scales, of varying densities, of various sizes, of various substances, of various masses--
some number, any number
of realities/universes in any possible
(which includes anything imaginable )
assembling and reassembling
into any possible configuration of these multifaceted universes
which may or may not be able to become aware of other presences in some way on some scale for some duration of time!
Now, enlarged in this emphasis: MICROBES!
bacteria, viruses --universes human bodies hosts
(living human bodies and corpses are great hosts for these well-populated universes)
--IMAGINE! potential specificity of bacteria to a specific human host environment. IMAGINE such adaptation, such responsiveness!
Consider Unique bacteria of humans discussed in Gut microbiata, an article in Nature: China
March 22, 2008
OTHER WAYS TO SAY IT --(other ways to 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:
Take a look at how Bill Seaman is saying what he's saying.
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 17, 2008
Partnership with the Anti-Gloss Alliance of the Legions! Opposed to Finishing as a Default Source of (print poam) Sheen
That is: the (print poam) as LABORATORY,
YOUR PROJECT as laboratory!
So what happens/can happen in a lab?
What are expectations for the experimenter's relationship with what is being investigated?
What is reconfigured --and what is (some of) the nature of that reconfiguration-- when the print poam is a lab specimen instead of necessarily a polished gem (of some sort, perhaps even revered in this literary circle or that literary circle).
--And perhaps as can be (easily expected) outside a forked reconfiguration, a forked (momentary --all that is forked is momentary, as you know) rejection of Finishing as a Default Source of (print poam) Sheen, a search for poem laboratory netted several print poams about laboratories!
and here they (some of them) are:
(from Tesla memorial Society of New York where the print poam may be experienced in an intended context)
( compare with this image of A Demonstration Made at Testla's Laboratory Yesterday:
Next, a print poam by Thomas van der Wilt (From "Send-Brieven"... over het WONDERLYK GESTEL van De Vefelen der Spieren..,
Ed. Adriaan Beman,Delft 1718, titleplate.) as referenced at euronet.ul as support for the logic of Leeuwenhoek's (described at the site as not a skillful drawer) not being able to both study through the microscope and draw simultaneously, some drawings there attributed to Thomas van der Wilt, the poet or to his father of the same name.
(this image shows some of the actual lab work:
and some actual lab equipment, Leeuwenhoek's microscope itself:
(from euronet.ul where the imge may be experienced in an intended context --not that usage here is not also intended)
[ IN CONTRAST: Here's
(from slippery brick.com where you can experience the image in an intended context)
the 50X USB microscope that I use (in the graphic pose poam on display through 28 March at Work Gallery, & the cover of Tokyo Butter, for instance—as seen on CSI! ]
This print poam also appeared in the poem laboratory search:
(from Physics Simulations [where I was visitor 47243] and where the image may be experienced in another intended context)
Here then is a last (relative to this moment) offering of poam laboratory search outcomes:
(from the U of Maryland School of Pharmacy class bio page where you can experience Amy V.'s print poam
--attached to describe herself-- in its intended context)
So what are (some of) the intended implications of this search and (some of) its outcomes?
The treatment of print poams as specimens for study, specimens from which gloss and sheen themselves might be stripped and put in petri dishes or in vials or on slides and studied is an uncommon (I went through 50 pages of search results) configuration.
YOUR MISSION IS IS TO BE
The investigator open to finding whatever emerges from usage of the toolset the experimenter is using for the investigation
--here determine a system, a protocol of investigation related to your project and the print poams.
You are being charged to develop ways of studying the print poam specimens specified below AS ASPECTS OF YOUR PROJECT FOCUS.
What can you explore in the poam lab that could possibly offer insights into ideas/issues your project raises?
Subject the print poam to any tests you like --especially tests related to your projects;
with these print poams: A Plan for a Curriculum of the Soul pp. 410-411 Poems for the Millennium (some allness/allnesses of that print poam will do just fine for scrutiny in the lab), and from Lecture on Nothing by John Cage, pp. 413-415 Poems for the Millennium (some allness/allnesses of that print poam will do just fine for scrutiny in the lab)
and an allness in Tokyo Butter.
(select for lab examination that allness you think could be revelatory in an experiment related to your project concerns --and document the reasons you think this.
You might also consider 4'33" an audio piece by John Cage, here in its entirety:
Not so subtle reminder:
IT IS OKAY TO IMAGINE THAT KNOWN WAYS OF ENGAGING WITH PRINT POETRY MAY NOT NECESSARILY APPLY TO THE PRINT POEMS THAT HAVE BECOME YOUR LABORATORY SPECIMENS. --ESPECIALLY IN LIGHT OF YOUR RESEARCH FOR YOUR PROJECTS WHICH SHOULD FRAME THESE LAB INVESTIGATIONS.
Do you allow yourself different interactions with the print poam in a laboratory situation?
That said, here's some questions to participate in your framing of this experiemnt:
What happens to the reading of the print poam?
What forms of discovery is made?
What can be accessed?
What happens to the role of the writer in this lab treatment of the print poams?
Is that okay? Why/why not?
And so forth.
JUST SOME TESLA TINES:
and Nikola Tesla, the great forker himself, with his tine-producing oscillator:
Okay: only a couple more posts of framing experiments for you to do and place in your blogs
(a couple 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!
One post is not assumed to be THE response to a post of mine --your posts may interact.
Your blog supports idea systems.
--which may be extended via comments you make in class (& other) blogs
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 22 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 22 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, 15 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.