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September 30, 2008

the GORT-STIG Helvetica-Connection Project and (some) Words & Images of Urgency: political, social, cultural, etc. (in favor of immediacy of response) (also: metaphor as all of this & more)

In this moment, we are watching Helvetica, we are members of Club Helvetica and I am using Helvetica to tell you this, and will resume its use following the trailer for the film you're watching:

(also) In this moment

some Limited Fork tines are/can be/were red hot
(some tines are/were/can be hot treads on wheels that Top Gear's The Stig pilots
[right now in my mind if not anywhere else in the warping/shaping,shifting of nowthat occurs again and again now]
around the track as fast as he can, a super-charged iteration/extension/bifurcation/additional enhanced usually inaccessible reality of electron-emulating quickness
in an eccentric atomic orbit)

—some Limited Fork tines were/are/can be red hot with to bail out or not to bail out
even though a decision has been made, red hot with consequences (& possibilities related to, bifurcations/tines of consequences), perhaps.

and in this moment that now has become (—growth system outcome—)
bail out prevails, and the entire country of Iceland is on the verge of national bankruptcy,
so black hole is hardly appropriate as a metaphor for a general direction of global financial systems and structures though perhaps it is a form of fall into a kind of red singularity of global financial collapse that may feel endless until there's some kind of slingshot maneuver from collapse toward solvency (such as government purchase of bank stock worldwide).

This refers to the architecture of black hole as what it becomes in such usage that draws from certain facts, certain imagination, and certain preferences/limitations of the mind in which the metaphor occurs/momentarily resides. There is a fusion of these tines that can give rise to structures that the mind can host even if some variables in the tines fusing can be based on error. In realities of the mind, structures impossible in some realities may be possible.

Consider that right now a supermassive black hole may be the center of the Milky Way Galaxy.

This image (credit: NASA/JPL-Caltech ): is an artist's rendering (with contributions from fact, imagination, preferences, limitations, etc.) of a black hole at the center of a galaxy. As stated on the NASA webpage:
NASA's Galaxy Evolution Explorer found evidence that black holes -- once they grow to a critical size -- stifle the formation of new stars in elliptical galaxies. Black holes are thought to do this by heating up and blasting away the gas that fuels star formation.

The blue color here represents radiation pouring out from material very close to the black hole. The grayish structure surrounding the black hole, called a torus, is made up of gas and dust. Beyond the torus, only the old red-colored stars that make up the galaxy can be seen. There are no new stars in the galaxy.

Is this too big to have relevance? What becomes possible via interaction with this information? —Including interaction with the Helvetica that delivers the information in text form.
What are the configurable patterns that can (e)merge from shifting, from variable, from using flexible scaffolding filters to sort and organize and propel, help determine the path of possibilities to be pursued, to be mined (on some scale in some location for some duration of time —necessary to say because dynamic systems tend to change as their constant; stable systems generally moving toward instability, unstable systems generally moving toward stability. Powerful or weak variables may arrive, and these may alter existing activity, destroying what's in place prior to the variable's arrival, fortifying what's in place, masking, gobbling, improving, & so forth the system in place as the variable --or variables-- becomes part of the system that the variable[s] presence [re]configures)

(Interacting elements need not interact equitably, Interaction referring to any form of interaction, including mergers, collision, dominations, consumptions, friction, fusion. Awareness of the interaction is not a condition requisite to the event; we participate in many interactions without awareness though some form of marking that is likely to occur as a function of interaction may exert some form of shaping on what unfolds from the moment of the interactions, that is, the possibility set may be modified in incredibly subtle or other ways. Some researchers are hoping for some such subtlety to be the ultimate Neanderthal fate/destiny, some little Neanderthal genome-essence mixed into the genetic structure of modern humans through some of that likely inevitable mating when these groups met. There's a lot more to process from the DNA of a Neanderthal bone found in Croatia, but these are findings published in August as reported in Discover Magazine).

CONFESSION: I have been most encouraged and most intrigued by how entities come together, how Limited Fork Theory can be used to study system formation, used to locate (or to create) those connections that can bind a system, even a system of that which otherwise might not be collaborators. Some of the brevity of the connections is astonishing. Such momentary bonds. I've been impressed that binding occurs at all, on any scale, in any location for any duration of time. Simultaneously, there is understanding that in theories of systems emphasizing a dynamic state of systems, impermanence of a particular state is likely, is assumed. But, when a system becomes unstable, possibilities for reconfigurations also unfold, and something binds again and again and again and again and again....

In the prevailing of not, a possibility set & its related outcomes slips through tines
in negative occupancy, and/or into imagined spaces where outcomes may unfold
though likely without a means to be realized in the external reality that houses what houses
imagination —without certain extensions from imagination into that reality system:

comments, stories, protests, congratulations, t-shirts, bumper stickers, posters, PSA's, videos, instant messages, and so forth.

This moment, like other moments, is entangled with the rest of time
(and the rest of tines) (from fathero9's photostream) in all the possible directions on all the possible scales

entangled even with aesthetic decisions and commitments
that in other framing systems of aesthetic expression
—and creative systems that distinguish creative activity
(as in creative writing) from other, apparently less creative or even non-creative activities.

So a crucial bit of tech to work with in intersections of technology and the humanities is mind tech. A training of the mind to be(come more) adept in constructing flexible frames with variable connection points or hubs (that also function as bifurcation stations), frames that can be shifted and (re)positioned so as to invent, discover, & so forth; so as to expose territory that might otherwise not arrive at a surface to support activity and possibility. To identify and utilize possibilities instead of literalities can aid in realizing those tines of possibility that otherwise might not emerge in the realities with which we think we have contact.

One way in which I made what I experienced as instantaneous connection, instantaneous kaleidoscopic symmetrical extension of this image from above: (credit: NASA/JPL-Caltech ): happened through visual possibilities within the limitations of my brain which includes the information sets that are stored there, and that form what is available to me in the making/mapping of connections and their associated realities. I saw the artist rendering as an eye, the color immediately reminding me of Pecola from Toni Morrison's The Bluest Eye, that superlative eye at the center of Pecola's puny galaxy, a binding to an intense sinking into an increasingly dense center of despair from which escape is unlikely.

You may interact with material related to The Bluest Eye in these locations:

book browse excerpt

a critical assessment (quite interesting for exploring tines that form realities based on logical fallacies; there are multiple contextual realities unfolding within, hosted by human-scale physical reality)

Random House excerpt of the book's opening pages

SwissEduc English

(do check out the link to Mazes of Beauty here
and at the SwissEduc English site which is a form of Bluest Eye universe)

—Though I'm not looking at the paperback copy of the book that should be somewhere in my basement library, a quick check online suggests that most printings of The Bluest Eye were not in Helvetica.

Here's more of Helvetica: the movie:

In a previous now, Mary Kaptur, Democratic representative from Toledo, talks about Mama, the reattachment of cut apron strings, reinstatement of the umbilical cord, the coming home of grown prodigal corporate investment children, unashamed to need some spoon-feeding and handholding, big bucks in the spoon, big bucks changing hands, big bucks falling through the tines of the fork and of the net under it;

Mary Kaptur, Democratic representative from Toledo on a day in history, a day on which, as it is on any other day, decisions are made, consequences of decisions occur, interactions happen, and some systems stabilize, some systems maintain themselves, some systems (begin to) fall apart

and these systems interact with other, together forming larger systems of interconnected activity,
any variable anywhere with a chance of affecting that larger system (on some scale, in some location, for some duration of time) by affecting anything that is in contact with something else (on some scale, in some location, for some duration of time).

Mary Kaptur talks about why Mama in this case should not rescue the darling prodigals now in a position to stop bragging about their independence from Maternal governing, maternal rules of gain and loss;

Mary Kaptur talks about this while Gort remains in position to intervene and punish if havoc and violence emerge on a day on which the stock market drop is so severe, so steep, it's close to the bottom where Wall Street pretty much has to stand still

and maybe most of the Earth, a stillness into which much financial infrastructure collapses:
Mama, Mama —save me!

Here's a look at a form of salvation (perhaps appropriately centered):

and a look at another form for which at least one bluest eye in one of the empty sockets (small black holes) of the soon-to-be-reborn head may be placed:
*(This image comes from cover artwork on the discography page of the rock & roll indie group forks of the credit) (map of Iceland is from U Texas library)

Posted by thyliasm at 03:53 PM | Comments (1) | TrackBack

September 25, 2008


Announcing: Project Stig: Gort edition

In Limited Fork Theory, collage as an information and intersection set
need not maintain consistency or continuity of form, duration, space, scale, substance, time, and/or configuration, for instance.

Collage system components (systems & subsystems themselves) need not touch directly, need not maintain close proximity
—as in celestial collages known as a constellations or star perceptual systems.

(from shaw.ca)

Depth ceases to register, ceases to have relevance for the human eye at such distance.

As if infinity compounded by infinity,
not the same infinite distance from us,
some theoretically further, some mathematically closer
though without relative difference on the impact on
what seems equally unviewable;
equally infinitely distant through unassisted human eyes,
including the extended viewing imagination can amp up.

For a moment, I return to Limited Fork Theory's humble start,
the first theory video (from 2005): DOD: the death of depth:

(a Limited Fork Theory root system, and from it, these new, these further, these extended, these growing,
these continuing bifurcations)

Here is what happens to this centered poam expressed as text, this anchor point system,
this bifurcation station, this language system hub

as it interacts further, extends, enhances, confounds, transforms
in acts of kaleidoscopic symmetry in forms of translation,
in forms of multidirectional journeys through/in/besides/etc. language systems:

English - French - English - German - English - Italian - English - Portuguese - English - Spanish - English

(in the lost in translation vehicle, a transport system as is metaphor).

Original English Text:
As if infinity compounded by infinity,
not the same infinite distance from us,
some theoretically further, some mathematically closer
though without relative difference on the impact on
what seems equally unviewable;
equally infinitely distant through unassisted human eyes,
including the extended viewing imagination can amp up.

Translated to French:
Comme si infini composé par infini, pas la même distance infinie de
nous, un certain théoriquement autre, un certain mathématiquement
plus étroit cependant sans différence relative sur l'impact sur ce
qui semble également unviewable ; yeux humains sans aide traversants
également infiniment éloignés, y compris le bidon étendu ampère
d'imagination de visionnement vers le haut.

Translated back to English:
Like so infinite composed by infinite, not the same infinite distance
from us, some theoretically other, some mathematically narrower
however without relative difference on the impact on what seems also
unviewable; human eyes without beams assistance also infinitely
distant, including the wide can amp of imagination of viewing upwards.

Translated to German:
Wie so endloses theoretisch bestanden durch endloses, nicht der
gleiche endlose Abstand von uns, einige anderes, irgendein
mathematisch schmaleres jedoch ohne relativen Unterschied auf der
Auswirkung auf, was auch unviewable scheint; menschliche Augen ohne
die Lichtstrahlunterstützung auch unendlich entfernt, einschließlich
die breite Dose Ampere von Phantasie von aufwärts ansehen.

Translated back to English:
Like so endless theoretically insisted by endless, not the same
endless distance from us, some other, any mathematically narrower
however without relative difference on the effect up, which also
unviewable seems; human eyes without the light beam support also
infinitely removes, including which ampere of fantasy from upward
regard broad box.

Translated to Italian:
Come così infinito insistito teoricamente da infinito, non la stessa
distanza infinita da noi, un certo altro, qualsiasi matematicamente
più stretto tuttavia senza differenza relativa sull'effetto in su,
che egualmente unviewable sembra; gli occhi umani senza il supporto
del raggio di luce egualmente infinitamente rimuove, includendo che
ampère della fantasia dalla vasta casella di riguardo ascendente.

Translated back to English:
Like therefore infinitely insistito theoretically from infinite, not
the same infinite distance from we, a sure other, whichever
mathematically more strait however without relative difference on the
effect in on, than equally unviewable seems; the human eyes without
the support of the light beam equally infinitely remove, including
that to ampère of the fantasy from the immense case of ascending

Translated to Portuguese:
Como conseqüentemente infinita o insistito teòrica de infinita, não
a mesma distância infinita dos nós, uns outros certos, qualquer
matematicamente mais strait entretanto sem diferença relativa no
efeito dentro, do que ingualmente unviewable parece; os olhos humanos
sem a sustentação do feixe luminoso removem ingualmente infinita,
including aquele ao ampère do fantasy do exemplo immense de cuidado

Translated back to English:
As consequently infinite the teòrica insistito of infinite, not it
same infinite pitch of we, some other certainties, any mathematically
more strait however without relative difference in the effect inside,
of that ingualmente unviewable seems; the human eyes without the
sustentation of the luminous beam remove infinite ingualmente,
including that one to the ampere of fantasy of the immense example of
care ascending.

Translated to Spanish:
Como por lo tanto infinito el insistito del teòrica de infinito, no
él la misma echada infinita de nosotros, algunas otras certezas,
matemáticamente más estrecho sin embargo sin diferencia relativa en
el efecto adentro, de ese ingualmente unviewable nos parecemos; los
ojos humanos sin la sustentación de la viga luminosa quitan el
ingualmente infinito, incluyendo aquél al amperio de la fantasía del
ejemplo inmenso del cuidado que asciende.

Translated back to English:
Like therefore infinitely the insistito of the teòrica of infinite,
not infinite same he thrown it of us, some other certainties,
mathematically more Straits nevertheless without relative difference
in the effect inside, of that ingualmente unviewable we look like; the
human eyes without the sustenation of the luminous beam clear
ingualmente infinitely, including that one to the ampere of the
fantasy of the immense example of the care that ascends.

In these transactions of translation, the exchanges are multidirectional;
not complete losses, but twistings, nudges, replacements, substitutions approximations; attempts to work on a puzzle —so there is some sense of expecting possibilities of resolutions,
enough provided, a substantial enough stepping-stone so that what is next
might take on increased likelihood of connection with something, of the accessing of something

in both (or more) directions,
the center returned to, marked with information
from the transaction, from the connecting, and then bifurcates again,
connects again, is marked with information of these interactions,

the initial conditions (that limit what's possible to the infinities bounded by the context established
by the active set of initial conditions of each transaction)

Flux System Word Map

English gives to and receives partialities of partialities from French gives to and receives partialities of partialities from English gives to and receives partialities of partialities from German gives to and receives partialities of partialities from English gives to and receives partialities of partialities from Italian gives to and receives partialities of partialities from English gives to and receives from Portuguese gives to and receives partialities of partialities from English gives to and receives partialities of partialities from Spanish gives to and receives partialities of partialities from English

Perceptual flatness links and lassos stars onto a single plane,
often with the apparent uniformity of a necklace —such as these radiant beads:

and so we dress up the sky, seeing something that can be perceived as great even without details present through lenses
of telescopes —I'm hearing LeAnn Womack's I Hope You Dance right here...

I hope you never lose your sense of wonder
You get your fill to eat
But always keep that hunger
May you never take one single breath for granted
God forbid love ever leave you empty handed
I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give fate a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance

I hope you never fear those mountains in the distance
Never settle for the path of least resistance
Living might mean taking chances
But they're worth taking
Lovin' might be a mistake
But it's worth making
Don't let some hell bent heart
Leave you bitter
When you come close to selling out
Give the heavens above
More than just a passing glance

And when you get the choice to sit it out or dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give faith a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
(Wants to look back on their years and wonder)
I hope you dance
(Where those years have gone)

(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

Music and Lyrics by Mark D. Sanders/Tia Sillers
Copyright © 2000, Uni/Mca Nashville. All Rights Reserved.
from the album, I Hope You Dance

(from internet resources)

(star from James Jensen Design)

In establishing connections across scale, space, form, time, links to and from hubs
or anchor points —bifurcation stations

(which any point can be,
any point from any scale);

in making connections, what is mapped is a collage of interactions,
a warped or here-and-there regular (for a duration of time) proxy-extended kaleidoscopic symmetry

(from American Mathematical Society)

(a symmetry of close relationships that extend & enhance identities, that bring together,
construct, no matter how brief the union
, how ultimately [assuming such ultimate exists] [un]successful the unification, evidence that there was unification marks participants;
information of unification becomes part of the components of interaction,
one of the collaborators in close relationships
such as shadows, echoes, and reflections and approximations of such)
in which a logic of connection forms sufficient similarity
or purpose that extends this pattern of logic, forming a symmetry of logic that can manifest

in any, in multiple forms
on any, on multiple scales
in any, in multiple locations
at any, at multiple times
for any, for multiple intervals and/or durations.

The logic can link visual, sonic, olfactory, tactile, cognitive, imaginative structures, patterns, hunches, errors, etc.,
these linked tines often aesthetically pleasing, often jarring —depending, depending, depending

perhaps helped into acquiring such configuration or (flexible) frame by desire/curiosity/need to construct it,
that information encouraging that which is or can become findable according to the search parameters
to be more likely to be found;
the information becomes biased/oriented/directed through interacting with the search used to investigate, used to understand; this unfolding of the possible unfoldings marks the reality available to be perceived/detected.

Metaphor can function as a tool-kit or tool system
for forging liasons between at least two entities
(either end/any end of metaphor can split into any number of tines,
and the ends of metaphor do not have to split into the same quantity of tines.
Metaphor is not only transformation or morphing of something(s) into other thing(s),
but it is also travel, route, path as well as vehicle; a transport system,
for implicit in transformation is movement from configuration to configuration,
and what can be transformed includes that possibility that destination(s) and point(s) of departure
do link, do come together on some scale in some location for some duration of time on some scale

metaphor becomes a tool for navigating whatever is/was/becomes navigable.
Metaphor travels within a kaleidoscopic symmetry it makes/identifies.

Metaphor is also a form of collage
(as are text poams).

The collage may be layered, convoluted, warped; have widely varying densities, may take on the regularity of a quilt or agricultural fields, may be the universe, the brain and its content, cellular structures.

Here are two visual metaphors by Bizarro himself: Dan Piraro:

(from Bizarro comic blog Bizarro Trading Cards are now available, by the way)

These two ads offer fused or stacked collages in which metaphor is embedded/is the vehicle of fusion, how bean and burger converged, how mustache and hat merged with identity; text other than the language of placement of the hat is minimal:

it's the hat

So I set out on a really big road trip
through as much kaleidoscopic symmetry as I could find/make:

yes I was looking for The Stig

--and I found Gort--

a reverent & irreverent twin study

—yes; The Stig's personal ancestry includes his life and work as Gort.

His better-than-monkish silence, his unprecedented driving skills (licensed for light years), and his love of Theremin assisted alien lullabies prepared him to get around the universe in tune
—but that was a dream job from which The Stig has retired

to drive vehicles on Top Gear in a circle the diameter of the Gort-guarded flying saucer spacecraft in the 1951 release of
Day the Earth Stood Still, the film in which Klaatu through Michael Rennie made the earth still for thirty minutes, to the delight of Sam Jaffe as Professor Barnhardt, physicist, and Einstein substitute (a la Equal Brand sweetener) whose equation (identified by Klaatu as a problem in celestial mechanics) is accelerated by the space traveler's help
on a chalkboard Hilda was about to erase before Klaatu's caution against that erasure startles her.

Klaatu & Bobby interact with Barnhard's equation:

Barnhard with blackboard equation:

Einstein with blackboard equation:

(from father wooley.com)

I also like (kaleidoscoping further) Sam Jaffe as the medical guru heading Ben Casey's Hospital —something abut the hair attracted me when I was very young. I believe that I detected a resemblance between him and his (as I thought of it then) Beethoven hair (which I thought had been electrified by the intensity of composing, hair vibrating with the frequencies of the notes; there quite a mystery story associated with Beethoven's hair, by the way) and Moe's hair had that stooge's hair been electrified, shocked so as to loosen up a bit. Jaffe
whose verbal hammering of man woman birth death infinity, as he drew the pictured symbols on a board, introduced the show —a vocal hammer [sonic equivalent of a medical reflex hammer, perhaps] (no doubt deemed appropriately godlike [so presumably fatherly also] by the tv show's producers, a voice that transmitted the gravity of that map of human origin and destination —almost as if the human purpose was contributions to infinity. Okay, so it was just a hospital drama from a while ago (1961-1966, and here and there in reruns, VHS, DVD), but the sound of Jaffe's voice still resonates with me, the lack of uncertainty and hesitation as he proclaimed man and woman suitable for birth, death, and infinity, a destination of convergence. The infinity in particular interested me and gave me something to aspire toward that easily rivaled the notions of heaven with which I was more familiar, for being bombarded with them on Sundays along with only one rather hellish alternative. And infinity wasn't being offered as a synonym or extension of death, I felt; infinity was something else, something that death was only a part of, so I liked infinity a lot then, even without Limited Fork Theory to reconfigure and flexibly frame it, at the moment with a Stig-Gort center. An all-inclusive Jaffe list? Intended to be? to not be? I guess that in the infinity of it all, I figured there was place for me if I wanted one, or more importantly, if I made one.

Jaffe's list, drawn each week in the same intro to the show, linked well with gort klaatu barata nictoe
as echoes and translations —a Limited Fork Theory system of kaleidoscopic symmetry,
and Patricia Neal's saying as Helen Benson gort klaatu barata nictoe
did indeed mean that a matter of life and death had surfaced, as this apparent infinite loop of birth and death has always been for the abbreviated always that humanity can already claim.

So round and round the loop drives The Stig, as fast as he can
for the love of orbits
within what's possible for the vehicles he pilots: the body (whether robot, terminator-in-training or something else, oddly fantastic circular melange) in The Stig suit and helmet and the car.

Professor Barnhard's equation:

Einstein writing equation on blackboard (close-up):

(from corbis)

A reality in which Einstein has Hilda-type help variation:

(from science after sunclipse)

Standing still is the death of Limited Fork which depends on, move with, lives as interaction, as motion, as event, as evidence thereof; so when the earth stood still, there were marks of prior motion, evidence of ceased activity; the fork limited to artifact, at rest; the fork not forking, but forked to death, the tines more etched and defined, the kaleidoscope fixed, singular perspective, no way to turn what could be a dial if turned; an unvisited gallery in which no movement results in no visitation if nothing moves.

So I am intrigued by that Day on which there were ethical exceptions to what was stilled; a beauty of exception, a marvelousness of exclusion.

Maybe a last act before immobility will be a meeting of all tines, a converging movement into an ultimate entanglement, a tying into a bow as a gift of peace, still(ed) moment? if time has stopped? still(ed) day/night? if day/night/time has stopped? Light is event, and stops. Darkness is event? State of being dark? Active darkness? Or the appearance of cessation itself, the look and feel of cessation?
Singularity? Outcome of the fusion of everything multiplied by the zero that is part of an all-inclusive all-embracing everything.

Solved and unsolved universes

Further kaleidoscopic perspectives in a collage system of travel toward a gift of meaning:

Day the Earth Stood Still 1951 warning of hope excerpt:

and a remix, a double take, a delayed twin, updated, clone raised apart yet interacting with certain gist, certain marks,
certain fields of information:

The Day The Earth Stood Still (2008) - Official Trailer (HD) - The funniest movie is here. Find it

This is part of my Stig project, some very flexible bones of it,
some of which will set in certain ways, will develop preferences for the setting

but the bones can be broken to redirect, to reset them
if necessary.

As Project Stig: Gort edition progresses,
it will grow to encompass, at least fringes of these definitions from all words.com:

Posted by thyliasm at 09:27 PM | Comments (1)

September 16, 2008

INFORMATION FIELDS & other interactions of energies outside limits of human perception (though some of these interactions may be experienced in various [un]provable ways [so far], depending on framing systems of proof in play) & KINDERGARTEN

Assuming that impulses of neurons firing in the brain as information enters, gathers, assembles, connects, expands, travels, spirals, coils, ruptures, shrinks, explodes, bifurcates;

assuming that this activity may be understood as electromagnetic interactions;

assuming that some Limited Fork theory tines involve feelings, hunches, intuitions, idea, imagination, supposition, some paranormal events, delusions; assuming some reality of pseudophysics, and pseudosciences

(from j-paranormal.com)


idea, imagination, feelings exist in some form, have some sort of structure, perhaps electromagnetic structure, for instance;

something occurs in the brain, and the occurrence has some form in which the event exists.

When the event is (human) death, when there is a disruption of the physicality that is entangled with idea (including ideas of selfhood),
that field, electromagnetic field of being, awareness, consciousness is transformed, moves, is displaced; something happens,
those energies (interact with, mark however slightly?) space on some scale —perhaps even Houdini's energy field of consciousness was too weak to exert sufficient force for some form of that escaping/escaped/transformed energy of consciousness to make itself perceptible, to (re)enter (fringe, boundary) range of human unaided and aided perception.

This is a depiction, by Phil Douglas, of the sense of flow of the occurrence associated with interactions with death, something that arrives; one moment death is not (completely) present, and in another (series of) moments, death enters awareness; become more active, is able to exert presence:

One basic understanding of some forms of, mostly, stage hypnosis involves ability to connect with energy of brain function that interfaces with paranormal episodes and paranormal fluid dynamics, is that if a connection is formed, then this circuitry can be rerouted through a controller's will. Because the imagination can construct realities beyond limitations of physicality, and because the brain is capable of projecting abstractions, attaching these construction and projection abilities to a machinery of control in which blueprints of construction are fed to these abilities can produce a way for the brain to treat these fortified or braced constructions as the larger physical context. I do not know what happens to dreaming in such scenarios.

The ability to stretch reality, to not only construct, but also explore projections does help innovation occur; discoveries that seem located outside boundaries emerge, and move between boundaries, knitting them together with elastic materials.

What can elasticity in the humanities mean?

Do keep in mind (where else) that there is plasticity associated with the brain. Within the folds are means for idea to grow, for the mind to expand what it links, what it understands, what is connected, where, and how connected; there are means for reframing, reconfiguration, and memory of prior frames; the mind is not a frame that easily breaks by introduction of new information when that mind functions within normal parameters. A mind that information breaks easily, a mind that does not adapt, is not a normal brain. To be fixed and rigid and finite it not healthy status of the brain/mind. A mind should be able to turn itself inside out, and imagine, build for itself that which is othgerwise impossible:

Now let's look further at folds.

Let's switch to KINDERGARTEN mode:
I hope you don't mind a bit of kindergarten.
Because in attempting this, I doubt we'll get any further than trying to fold a piece of paper.

(from empas.com)
and related to: All I Really Need to Know I Learned in Kindergarten by Robert Fulghum


Folding a piece of paper is such a broad action, that without more restriction, more limiting factors; without narrower parameters, you may be stuck in this folding of a piece of paper for a while, even though there may be a limit to the physical manipulation, so understand this risk before you get involved. Imagination can continue to fold the piece of paper, however; an actual limit of physicality is not a limit on what imagination can attempt and accomplish

(indeed:idea is folded into thinking systems in the mind, and the brain itself is an intricately folded realm/system:
Do take a look at the article Human Brain Folds that is the source of this image.
You can see why brain coral such as seen in this image from Chris Gordon's flickr streamis called brain coral

Here's one additional image of the human brain's fold-system from Wikipedia Commons:

Rules vary according to circumstance. But do start with paper that has measurable physicality. You can stop folding the paper (which may be attached to something, may be part of other systems) at any time, of course, and whenever you do stop, you will have arrived at at least one limit. Perhaps you are even working with paper that already has been folded or dogeared, perhaps; maybe you are working from or toward a pop-up system of compacting/expanding information —the fold supports this. Perhaps you are making a snowflake, and will add and/or subtract guided by folds:

(from instructables.com)

Paper SnowFlake 3D (origami +stapler) - video powered by Metacafe

The paper will respond to the information of the process, the activity of folding; creases, evidence of where folds have been, whether careful meticulous folding or crumpling. (from bioinformatics zen)

The paper remembers; (from design Oahu)the fold itself arrives with memory of itself, information about what has happened/is happening. And if you're working with paper previously marked in some way, then the paper with those marks (including pictures and text, stains, rips) establishes the set of initial conditions of your interaction with the paper. Initial conditions help to determine the context of what is possible in the interaction(s) in progress. Each interaction session has a set of initial conditions.

Crazy Paper Folding Trick - Celebrity bloopers here

In the case of a session of paper folding in which initial conditions prior to your first gesture of folding
is done on paper previously marked on one surface (side), then those markings, one folding begins, and depending on the extent of folding, the number and location of the folds, etc; depending on these and other factors, the marking may now occupy more than a single, less complex surface; part of the system of marks may be relocated by a system of folds to interior locations, interior surfaces; there may now be more complex architecture, more flexible architecture, and/or more surface; there may be more volume as an outcome of folding interactions.

(from Hamilton Public Library writing resources)

Limited Fork Theory encourages documentation, and openness of form, for form will be shaped by the nature of the investigation itself. Perhaps an investigation of folding will lead you to make objects, various digital iterations derived from something that is realized at some location in the folding (or the related unfolding). Maybe a lovely equation where the script is very thick, to the point that the pattern of the symbols can dominate and in 3D printers become objects that can fit together as puzzles (which can be re-framed in a variety of forms, according to the system you devise, and the form of/amount of connection you apply to the configuration of the puzzle), or perhaps the 3D modeling of this (and the bifurcations of this; the ability to fold is powerful; consider the consequences of that opposable thumb, the way the thumb can fold to touch the other fingers; the way those fingers can fold to meet the thumb). For Hiroshi Sugimoto, the outcomes of equations are three dimensional scultures whose volume includes his understanding of what is folded into the invisible mathematical line and the pencil line or chalk line that writes the equation having, on our human scale, only length (meaningfully; the depth can't be usefully perceived by us until we shift consideration to a smaller scale which becomes enlarged and meanfully through focus and magnification).

(from sugimoto hiroshi.com)

Perhaps a system of text-based units that fold/unfold in multiple ways, some of which depend upon the shifting of scales. Perhaps something motorized at least some of the time. Alphabet free to fold into and out of various alphabet forms mechanically, digitally, or just a flat diagram in which such interaction is imagined without needing to exist with more dimensionality. Perhaps something about what happens as the paper is folded gives you ideas about how dimensionality is acquired. Maybe the writing of a poem in which folding exerts significant influence beyond/in addition to the word "fold" having presence (various active instances of folding are part of this post). I say this at the outset mostly to point out how the destination can bifurcate into many tines of the fold fork (bifurcate yet still be attached in some way), any particular poam not arbitrary in the context of the investigation that can help explain the nature of the poam that results. I say this on the fly, within the limits of what I can imagine, the presence of a bird sound that made me interact with a shift in the angle of my eyes, just now (a slightly earlier now than this "now" —or the typed now that precedes it can reference; now is not necessarily synchronized; time sort of folds as it moves, interacts with various siutations and perceptions); anyway, I shifted my eyes from the computer screen in time to see a bird fold its wing as landed on a neighbor's new fence. A fence whose slats could be reworked into a folding structure like some window blinds and treatments. A wing whose folding also hooked up with some of the folding roofs in the architecture of Santiago Calatrava, whose work is a system of study of interactions —Limited Fork Theory loves Calatrava's exquisite tines; so much folds into/out of them:

Some stills of Calatrava's functional and aestheitc poams:

(this Calatrava image trio is from benjamin's wey)

Here is a (partiallyfulfilled) vision of Folding Architecture:

Rotating architecture, perspectives folding and unfolding as functions of rotation
may be experienced, remotely, somewhat vicariously through this video about a skyscraper
(being) realized in Dubai:

I do know that proteins fold, and here is a picture of that folding from Wikipedia commons:

(from Wikipedia: protein folding where you get details about this process and system of folding).

Click on how proteins fold for even more information.

The investigation itself can provide the contexts and reasons for focus so that appropriate rules of exclusion can direct the forming poam in particlar ways.

There is a reason for the apparent unrestrictedness of what's been said, because it demonstrates the bounded infinity of what's possible within an active limiting factor to exclude what isn't about fold, and to include a model of fold's range on multiple scales.

Please fold gist of this post into your thinking and work on your project, and record outcomes of folding the gist in your blogs.

As fold is investigated, and ideas and understanding begin to limit what fold will be for you in this session of interacting with fold, necessitiies of form will also emerge. If the form that seems best for the emerging and evolving idea of what you make is a form that you can't execute in a way that gives it physicality, then the map of what you can't make, the diagram of what you can't make, the song of what you can't make, the _____________of what you can't make can function as the poam, for folded into it can/will be documentation of the entire investigation; somehow this is folded into what is made. It's certainly possible that the documentation itself becomes the poam.

The goal is to understand folding (of words and images) better. If the poam that results is just the poam of enhanced or extended understanding, that's fine. Again; the purpose isn't to make a particular thing, for forcing agenda on investigation does help deliver outcomes of that agenda —and investigating fold is already an agenda; the outcomes will be related to fold.

Fold is a limiting factor requiring in that what it contains has a relationship with fold that can be perceived as a relationship for reasons that are being documented.

Well; enough of this.

I just needed to set up some really bare walls as minimal paramenters. So now that the playpen is bounded, very soon, this directive will be only the playing itself. It just might turn out that what unfolds in this investigation of folding is that this blog won't contain any other activity. A persistent kindergarten state. We'll play in this playspace with only folding, and, figuratively, the playspace may get folded into this first Forking and just stay there, because in some persistent fold situations, the fold is a rut —not that you have to go to rut at all, that opens up (please don't think of birth of fissure, locations of physical stress).

This is a relatively unfolded springboard (marked with subtle folds of agenda to fold) into an investigation of folding (paper). I cannot account for all of the situations active in your session of folding. Some of the springboard tactics can lead you to the forming of parameters that refine the investigation. Feel free to conduct other investigations in which the values of the parameters are reset. Perhaps visit Britney Gallivan's solution to the Paper Folding Problem ( an accomplishment mentioned in April 2005, as it says at the site, on the CBS television showNumb3rs).

(from Britney & the 11th fold)

Fold and fold and fold paper; fold and fold idea.

Just to think about folding is folding multiple connections into multiple locations in the brain —"writing" them in (I'm picturing the writing of the Ten Commandment tablets in DeMille's film). Fold and its bifurcations are not written into only one brain spot. Though the paper folding session that follows is being set up as a series of physical manipulations in 3D space, the flat version —think of 2D maps of 3D spaces— can reveal more of the pattern of the folding while concealing (yet being marked with the information of) the 3D shape. The brain into which idea is folded, is folded itself. The path of fold in the brain is more of a forking or bifurcating pattern/system because of the multiple connections fired up by fold in the mind. Fold is a system rather than a single thing. Focus can (apparently) reduce the number of parts of the system that are being considered in a particular situation; branches of fold are weighted with a different relevance according to the situation. Fold can get bulk out of the way, freeing up space (fold as compression).

As this kindergarten session progresses, some branches will bear more weight than others. Some connection paths in my brain burn brighter for me because there are more elements connected, and their combined luminosity is more intense, and folded into how I form meaning in my years of being trained to prefer well-lit locales over dangerous poorly-lit situations where I may be more vulnerable to attack, though I would argue that I have been attacked by the light; it draws me to it, and without fear, I venture close to the bright patterns of the mapping of fold in my brain, and I am burned.

Now Playing: Folding 101: Kindgerten Mental Burn Unit.

Depending on what you (try to) fold, this investigation could lead you to different considerations of persistence.
But say that the material to be used in the folding is paper, some form of paper.
The thickness may be an issue. If so, document (in some way) what you experience concerning the thickness
of the paper and your efforts to fold it.
Is the paper wet or dry? etc. Is it burning? Is fire being allowed to fold the paper?
Would can it mean if the paper has been/is being/will be folded into a recipe for papier mache?
Just what is the condition of the paper?
Is there any evidence of previous folding? Of acquisition of prior information?
What role did such evidence play in the paper's selection for this session of folding?

Fold the material (including idea) at least once. Feel free to use varying amouunts of pressure
as you fold the material. Feel free to use devices to help you fold the paper.

Are you trying to fold the material into a particular structure?
Is particularity of a destination shape present from the outset of this session of folding? or does the possibility of more definite structure emerge
during the session? How can you account for the emergence or non-emergence of the possibility
of a definite structure?

Perhaps you think of Sadako's paper cranes.
You certainly don't have to think of Sadako's paper cranes, but if you do (this continuation of the discussion enhanced, folded with this tine of consideration), then note that the following words are from the list of vocabulary/spelling in the information available from students at the University of North Carolina for the inclusion —or folding— of Sadako and the Thousand Paper Cranes by Eleanor Coerr into a children's literature curriculum:

atom awake bomb carnival crisp
engrave exclaim fidget frighten groan
Hiroshima holiday kimono leukemia memorial
nervous Ohta photograph quilt Sadako
secret swarm whirlwind whisper wriggle

Fold (paper, other project material, idea) until you reach some limit.

Please document (in some form) as much as you can (until you reach some limit of documenting)
what you know about the limits that are reached

Are these your limits or the paper's (or other folded material) limits?
How do you know?

Was the paper clean at the start of session?
What is the paper's condition now that limits have been reached?

What is happening in the locations of the folds?
Has the folding also made additional corners?
Is there somehow more surface to explore?
Is there one or more interiors?
Are there means to access these interiors without unfolding?
Enhanced volume?
Modifications in dimensionality?

Where was the paper as it was being folded? Where are you relative to the location of the paper as it is being folded while ideas about what is occuring are being folded and refolded into you?

Is the first fold a dominant fold in some way?
Is the first fold a determining fold in some way?

Has a gift been wrapped?

Explain (in some way)

Now that the paper has been folded,
are there some usages for the paper that have been altered or eliminated?

What are the attributes of the paper that helped determine —or limit—
how it could be folded?

If the paper wasn't blank, what has changed, if anything, concerning how the content
may still be accessed?

Perhaps deliberately select paper with text content or some other content, different areas of texture,
different areas of color, and document what happens to the content at various stages of the folding.

What is happening to the meaning of the content as its physical position is shifted during the folding?

Have you folded the paper in some way that enhances flexibility?
That restricts flexibility? A crude simple quasi-model of a corset?
(I may be stretching the writing here, but the paper may lack elasticity unless the folds contain enable some stretch). If you can find it, watch the movie.

Pleats? Accordions? Fans?

How regular is the folding?

Are you folding a single unit of paper or multiple units simultaneously?
What happens to ideas of top and bottom as the paper is folded?

Are there additional dimensions even though the total package of the folded unit of paper may seem able to fit into a smaller space? How is time being folded in to the structure taking shape?

Have you made some gift-worthy or near(miss)-professional origami during this session?

Does the documention capture the essences of your understanding about what is occurring in the folding (session)?
What are the methods and locations of capture being used to document?

If it's being documented only or also in your head, then it's fine to include "electrical" as one of the forms.

I will be folding a scented perfume sample that was packaged with an invoice.
I will try to fold a love letter with my toes, with my teeth.
I will fold a map. I hope that I fold a map as well as Dave folds a map in Highland Park; a folding so accomplished, there's a video documenting the folding.

I will fold graph paper
I will fold papery disposable diapers
I will travel better than ever, hotel staff will marvel as I unpack and unfold my clothes for a fee in the lobby, enough to upgrade to preidential and penthouse accommodations, a wad of bills too thick to fold well, too thick to fit into any standard trifold wallet. I owe my expertise for having to learn to fold from Benny

I will make, rather I made, "Frieze Framed by Friezes" a video quilt poam in which forms of folding are active in what's captured in the still and moving images of the actual acts of demolition (as it to unfold or remove the evidence that supoorts what resides best now in memories of the Frieze Building, a rewriting of evidence on what is now the site of new construction that will house, among other units, the school of information).

So now what?
Maybe something tidy has come out of the folding; perhaps you have an affinity for compacting, perhaps you coukd leave this session satisfied if you left it right now, perhaps you've wasted a perfectly good piece of paper, maybe from now on, your hand-made grocery lists will be pyramids, you'll try to tuck miniature tetrahedrons into pockets or purses.

But this is far from done. I must confess that I have much to figure out about folding. I seldom get beyond the folding of paper. I'm not even sure that I am close to the limits of folding paper unless I establish some limts, some rule(s) of exclusion and inclusion so that in thinking about the conditions of the paper at the outset of the session, I won't, through a series of connections, ultimately arrive at the beginning of the universe, not that that isn't where I really want to go, because being there suggests a partnership with proof. Imagine: the folding, unfolding, refolding of the universe as a mesh of Limited Fork tines!

Has the folding been positive folding or negative folding?
Each time smaller? Or were some folds reversed? Is unfolding a fold allowed as an instance of continuing to fold in the session?

What is the present situation of surface?
Is folding weakiening some areas, strengthening some areas of the paper?
Do the folds help locate preferences for formation of cracks?

Could the folded structure that has emerge be considered regular? Or would "irregular" seem to access more of what dominates what is emerging as important in this session?

~Oh the beauty, the necessity, the potential of your projects and all of their folds!~

Remember: you are folding your response to this into the context of your emerging project.

Your Project is the anchor point, the primary context of this course,
if not your life.
Please fit any/every aspect of your study, learning, experience into this anchor point;
let any/all information form tines from the anchor point of your project.
Rather than a final project outcome, your goal is the mapping
of the evolution of your project.

Your project is understood to be a flexible idea system, an idea collage of interaction(s) and intersection(s), and this poam system may be entered and exited in any number of ways by this kindergarten subsystem of Limited Fork Theory.

Here are three wordles of this blog:

Go to wordle
and create your own word cloud that folds into its architecture the textual content that you specify
in an interaction set in which text becomes (a modified) image.

Posted by thyliasm at 04:21 PM | Comments (0)

September 09, 2008

Collaboration, Ownership, Role of subjects and objects of expression and of community

As you set up and develop your projects/projects sites, do give some consideration to (and comment on, in some form) how responsibility interacts with the information you are generating, framing, sharing, manipulating

(for to present information is to resituate it in the context of the presentation; the reframing is to manipulate the information, to try to cause the information to be seen in some way [shaped by the limiting factors that help to determine a consensus context in which individual contexts emerge, evolve, bifurcate] —even an intention to provide unbiased framing is an agenda, a form of manipulation.

What does it mean to share?
If products of creative expression are free, how do those generating creative products earn a living?
How much free exchange is possible without restructuring societies and communities?
What impact is user-generated content having on authority and on the vetting of expressive producers?
Who will determine the canonical content?
Who can afford to share?
Who can't?
What are the rules that framing systems of information (specify contexts you are/would like/would not like —with reasons in any form— to consider) encourage? discourage? For whose greater good?
How is creativity shaped by direct (specify) and indirect (specify) (desired) goals of creative expression?
Is innovation an aspect of creativity? How do they differ?
Are there similar responsibilities in both?

Looking for the Big Break!

How is the big break configured?
(specify context(s)

How might the big break be (re)framed?

Do you think that some creative and/or innovative outcomes are withheld
or manipulated in pursuit of the big break?
Please explain (in any form[s]).

Here is shared creative expression from Strexx:

How does this creative product address (portions of [some of]) the questions raised in this post?

Let's also take a look at the creative expression that is a system of altering books, as in BOOK AUTOPSIES:

from shelleylyn.com
perhaps a practice easier to justify now that book content may be disseminated more easily in digital forms, and now that some fear an increasing obsolescence of printed books that offer more straightforward depictions of text (visit The Institute for the Future of the Book among other locations, and think about the collaborative writing of wiki books).

Posted by thyliasm at 04:37 PM | Comments (1)

September 02, 2008

420.000 Humanities & Technology Limited Fork Theory Interface

Welcome to the 420.002 Humanities and Technology Limited Fork Theory Interface! (in the Limited Fork Theory: Development Practicum Atlas)

This is not a new development practicum, but an extension that embraces the 420.002 interface system. Feel free to explore the entire development practicum (and a related Limited Fork Theory Atlas, an(other) applied LFT blog.

Your initial compound assignment includes the establishing of an online location for your project log, a location that does to have to also serve as the project location, though it certainly can fulfill that function.

There are a number of free blog(for instance:Blogger, mblog), wiki (such as pb wiki and wet paint wikis) and website hosting locations (such as weebly and um.sitemaker), many of them jampacked with automated tasks that you can take advantage of without shame and/or frustration; not only do automated tasks save time, but there is always the risk that a particular code becomes obsolete. That said, I'm using some basic html to maintain this mblog --I like code, and enjoy configuring the blog as I want it (within the limits of what is possible in the framing system of the blog host).

Please leave a comment to this post with your blog url; if you don't know how to generate a clickable link in a more manual blog, we'll go over that in class tonight.

Initial questions that you can (begin to )answer in a variety of forms are: what is included/excluded in a humanities framing system, and what is/isn't technology.

What is the role of access in determining these boundaries?


What follows is a plunge into limited fork theory concerns regarding elements of access, humanity, and the humanities.

It is a huge immersion, but as it is immersion with a limited fork, some of what is encountered will slide through the tines, so at best we access prtialities of partialities;

enter the extended entry as often as you like;
take ideas visited in the extension and extend them in your own thinking, perhaps toward the configuration of (aspects of) your project.

Please also begin reading Lawrence Lessig:
The Future of Ideas

Are you familiar with olpc?
the kindness of giving the gift of technology (+ related impact): the one laptop per child get one/give one program (until 31 December 2007)

Read the WSJ article here

Explore XO (as the laptop is called) features here

Here Laptop Magazine offers a comprehensive review of the XO
as seen in this detailed diagram:

The interface for XO is Sugar instead of Jaquar or Windows Vista, for instance, and is discussed in full in the following You Tube video:

Of course, the XO has unergone evolution since its inception when it was not called XO, and by now (November 2007), the XO itself has been superceded by the XO-1 which is the focus of this Wikipedia entry

(which you can compare with the OLPC wiki).

One context in which to consider XO and

(by no means the only context) is juxtaposed with What the World Eats and with Material World

Image from the Global Denim Project, an initative-lens (and form of enclosure) attempting to understand global impact through investigating denim as a phenomenon that crosses cultures, and most global boundaries, in some way. Spend time, please at the Global Denim Project site.

The Abstract for A Manifesto for the Study of Denim by Daniel Miller and Sophie Woodward:

This paper considers the challenge to anthropology represented by a topic such as global denim. Using the phrase ‘blindingly obvious’ it considers the problems posed by objects that have become ubiquitous. While there are historical narratives about the origins, history and spread of denim, these leave open the issue of how we make compatible the ethnographic study of specific regional appropriations of denim and its global presence in a manner that is distinctly anthropological. Ethnographies of blue jeans in Brazil and England are provided as examples. These suggest the need to understand the relationship between three observations: its global presence, the phenomenon of distressing and its relationship to anxiety in the selection of clothes. As a manifesto, this paper argues for a global academic response that engages with denim from the global commodity chain through to the specificity of local accounts of denim wearing. Ultimately this can provide the basis for an anthropological engagement with global modernity.

Let us not overlook how digital interfaces --much of it in the manipulation of a mouse in the palm of a hand, a trackpad under fingertips-- has had substantial impact on what it means to share ideas and content (outcomes of ideas).

So much that in the past has required sophisticated, expensive, large, and specialized equipment now exists in user-friendly compact forms that allow for quick and easy image and sound capture & production, sometimes with results that can begin to rival what expensive professional equipment counterparts can produce. As an example, check out the musical offerings (visual offerings, too) from strexx.com, offerings outside of formal studio and publication protocols; some technologically empowered individual initiative.

You can listen to one sonic offering: environmental experiment 69 (New Teacher Lessons Crowding Rhythm Catalog Mix) from strexx.com right here:

The audio (and video) remix is something that has been greatly facilitated by technological developments, and is overwhelmingly collaborative as in this remix of Like Music by The Jinks also from the strexx audio lab:


The amount of sharing that occurs is staggering --I think about the number and range of cyber communities to which I belong, the good fit, the appropriateness of so many of these memberships without certain physical details or other facts (including a certain literary clout & related assumptions) interfering.

And I can easily --so I will-- inform you about GadgetTrack to help you recover your stolen portable digital devices:

(how it works diagram from InventorSpot.com )

You can watch a Gadget Trak video at KGW.com, and more information is available from Gadget Trak Recovery System blog

Knowledge of this device did not come in time to help someone from strexx.com who wrote about an aggressive ipod theft(at Pioneer High School in Ann Arbor) in this post in the strexx particle labblog.


I maintain five email accounts, each one in touch with a part of my existence, the umich account, the only one that requires me to be professorial.

But the sharing --that's a Wow! for me; the impulse to make information, aesthetic information and other information, available is stunning. Whatever someone makes, as long as there is some form of digital conversion, can be placed where there is potential for that thing to be encountered. This is downright revolutionary. And with all the shared material, it is easy to capture material generated by others and bring it into my own/your own cyber locations --just amazing, and an example of joint custody. The sharing, the potential of something I contribute making contact with someone anywhere in the world who may take interest in it is much greater than an impulse to control it; I take pleasure in finding my video poams in Russia, in Japan, in Germany, in Brazil.

So I can share with you something I find compelling that was shared in other online locations:
Introducing the conceptual text-based visual systems of Jason J Gillingham.

You are not likely to find work like Gillingham's in most anthologies of poetry, even in anthologies of L=A=N=G=U=A=G=E poetry where there is exploration of the language's inexactitude and uncontrollable interfaces so that its use does not clarify and only seems to because of the trust placed in language without considering the structural and conceptual limits and fallibilities of language. The fragmentation implicit in language usage in exposed by Language poets; there should not be expectations that groups of words can form reliable coherency when it cannot be determined with any exactitude just what is being connected and what the logic of the connections might be.

Rather than trying to produce incoherent poems, language poetry extracts the meanings and portions of meanings that might be available in arrangements operating on other logics, often based upon the nature of experiences words have endured in use, misuse, overuse, abuse. negligence, assumption, over trust. etc.


Gillingham is not deliberately making poams; while text is a part of his work, the text is not meant to convey meanings based on their definitions. The words are placed in situations that change them, revealing alternative concealments, often at the expense of kinquisitic and syntactical integrity. As the words interact with their environments, there is a physical reaction. Usually, words are representational, but in Gillingham's poams, the words have thingness, and as things they are liberated from representing what they are assigned in language systems.

Of course it is possible to view Gillingham's text objects as fragmented, but I think of it more as the splitting of pods when growth erupts, the accessing of the interios of the egg; Gillingham opens the words, none of which are empty.

The use of words as objects, and the making of poems that arrange these objects according to systems other than definitions is also compatible with L=A=N=G=U=A=G=E poetry although Gillingham's work, nor the work of Ed Rusha is usually categorized as poetry, as problem with dominant and domineering systems allowed to shape the systems of significance/insignificance that shape the rules and protocols of society.

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


For some of you, what follows will be an introduction, for others an opportunity to reacquaint yourself with what I consider extremely significant conceptual poam work by two visual makers whose text systems are enclosed by visual systems further enclosed by the placement of text systems within visual systems and by the content of the text systems.

Those of you unable to readthe text systems literally, will still be able to read non-literal implications of the text systems. Do consider the strong possibility that the text system is not necessarily meant to be as read according to the usual protocols of engagement with text. Opportunities to encounter alternatives to pervasive (and seemingly unchallenged) (deeply embedded) protocols of existing are steadily increasing because explosions in digital technology help innovation to flourish within widespread attempts to determine what this technology can do, can't do.

Shirin Neshat is primarily visual (still and moving) poam maker whose pages (a page is a host of a poam event; where a poam event pccurs) often disallow negative space, text filling any location in the map of the poam that may be filled:

This visual poam by Shirin Neshat may be experienced in its source context, and more
of her visual poams may be experienced at Iranian.com.

Lalla Essaydi, visual poam maker of Converging Territories, a collection of visual poams in which what might otherwise be consigned to negative space is populated with text to an extent that saturated black areas of visual poams may be perceived as areas where text is so dense, so saturated, that individual parts of texts are not discernible, as evident in:

This visual poam may be experienced in its source context, a neighborhood of other Essaydi visual poams from Converging territories at: Laurence Miller Gallery.com

And, of course, this inclusion can remind us of just how strong the impulse is to supplement text with sound and image. The sharing of idea includes responsiveness to a range of human sensory perception, so sharing includes the writing of sound and image as well as the writing of words.

What I now consider my work could not exist without these advances in accessible technology.
The exploration of other possibilities of aesthetic expression has been simplified and made even more meaningful because the accessibility of technology has been accompanied by relatively easy modification of these evolving tools. I am able to bring more of what I can imagine (and what I can imagine has been extended as well) into a shareable form.

Not only has my work been transformed, I have been transformed; the very structures that produce my ideas have been reconfigured as a result of my exploring possibilities of making and living that take advantage of an examination of protocols of expectation that had shaped me without my conscious consent. Once I acquired an identity of maker, an identity as modifier of what exists; once the play-doh and tinker toys were in my hands without the manuals telling me what and how to make, I became aware of how easily restructuring and reconfiguration could occur.

Looking across scale and identifying the repetition of basic forms, using metaphor as a navigational tool instead of a literary device, investigating how systems form, how they are sustained, how they degrade and come together again as variables come and go --all this helped me understand what and where (other) possibilities were, and I continue to seek ways to utilize what I am still finding with my limited fork.

(the Limited Fork plant didn't just sprout, didn't just blossom; it took hold in a fertile area from seeds that came from something enclosed in a system just as fertile)
(image of Limited Fork plant in the Garden of Forked Delight by Proforker T Moss)

The interview Shadows, Boxes, Forks, and “POAMs? addresses some of the evolution of Limited Fork interacting systems as an enclosure system for my life.

(image by Strexx --rare view of forkergirl in AH 3241)

Posted by thyliasm at 05:32 PM | Comments (16)