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November 18, 2008

Some Words about Words (& Images)

Project Orientation
The political ticker is part of this post for a number of reasons, one of which is the politics of projects, a process through which decisions are made about (worth of) [your] project system, a process through which, as featured in the logo from The Dog Place.org (where the logo [seen at left, a logo that also makes —allow me this indulgence, please: because today I heard Phil Devries play for me and any other listeners/watchers of the documentary the song of the caterpillar--a song sung so that caterpillar NOT become supper, remaining instead a caterpillar continuing to enjoy a symbiotic relationship with an ant colony that every morning becomes an audience for the caterpillar concert that concludes with a bring-your-own-nozzle [to insert in the caterpillar's sweet secretions] nectar brunch] where the logo, as I was saying, may be experienced in an intended context, here in a context of the politics (appropriate seeing as some of what occurs in politics occurs as functions of possible and realized political links to convenience); the politics of hotlinking to a site committed to providing fearless, factual news); the political process through which we get back on track, down/up/sideways to the business of acknowledging how decisions are made in determining the value of a a project (at times to be referred to in this post as the Work),

the emphasis placed on the Work itself, the OBJECT that the PROJECT yields, the PROJECT VISION [so necessary, so fundamental to initiating a project] maginalized, relegated to subordination, inequality, though the VISION to some degree supports the PROJECT OBJECT, provides some gestation, gives birth to it even sometimes before complete development,

so that some PROJECT OBJECTS are born too soon, are premature births,
and some of those prematurely born PROJECT OBJECTS are born so early that they may be considered ABORTION OBJECTS.

—Please allow your project vision to evolve,
even at the expense of a finished project object;
let the project object evolve as far as it can by mid-December, push it, explore
the connected tines that raise questions about your evolving understandings
and your continuously-updated assumptions; DO NOT COMPROMISE ANY REVELATIONS
THAT OCCUR just because we approach December; if you experience breakthrough
(or the forms of breakthrough that are also forms of breakdown of something you'd previously thought), PURSUE THE COMPLEXITY OF THAT BREAK-SYSTEM, AND MAKE THE FORMS THAT BEST (according a criteria that you can construct and articulate —in some way) CONVEY THAT IDEA SYSTEM, and take it somewhere

In addition to a form of project status outcome, please also prepare an articulation of the vision itself
and the growth related to the vision, including the flexible framework for growth
you anticipate as the idea system progresses six months beyond class, six years beyond class, the idea transforming with you, both you growing and the vision growing. Map logic(s) of your journey through idea, logics to be placed online in addition to physical manifestations of (aspects of) the idea system.

(try to) DISCOVER (some of the possible) Joy of constructing a (flexible) system of consideration (flexible, adjustable lens system) with which you focus on whatever you focus on, engage with whatever you engage with while SO MUCH occurs—
[—some might, with that oversize SO MUCH, be able to link that SO MUCH to a print poem by William Carlos Williams, physician & artist, a link to what some might think is one of the only two print poams he wrote, for seeing only THE RED WHEELBARROW and/or THIS IS JUST TO SAY in an anthology (framed in particular ways for particular reasons, some of which may be so embedded in the protocols of systems feeding anthology viability that reasons may not be as subject to reconfiguration as they could be), but because of the frequency of inclusion of this (or the other) very short print poam, the likelihood of a connection being made whenever SO MUCH is encountered, especially when SO MUCH is emphasized, is increased.

As you may have noticed, the great SO MUCH print poam by Williams Carlos Williams, all words that conjure visual images in the mind and that is about, in part, outcomes of visual interactions with things that are illuminated within a particular visual range on a particular scale in a particular location for a particularly variable duration of time;

as you may have noticed, that print poem in which SO MUCH is a large part is part of this post (image of Williams Carlos Williams from NNDB.com), (print object text and print object picture from flickr):

The Red Wheelbarrow
by William Carlos Williams

so much depends
a red wheel
glazed with rain
beside the white

To listen to William Carlos Williams, M.D. read The Red Wheelbarrow, the famous SO MUCH print poam, click the the play arrow, and consider, among other things, the politics of SO MUCH and what depends on SO MUCH; indeed: what is the SO MUCH of your project system? What depends on the content of the SO MUCH structure of your project system? **These questions are part of what you'll address in your project articulations**:

Deceptive simplicity? Or the complexity of simplicity? Systems of chickens (and eggs) and wheelbarrows? Are these cloned chickens? The whiteness of exact (give or take a [spontaneous] mutation or two) genetic duplication? Systems of interconnectedness, mutual dependence; these chickens, this wheelbarrow are tines of what? are connected to what? If these chickens can't survive, what are the implications? Is this print poem a take on the butterfly effect? Through connections, there can be an amplification, even profound amplification, of impact and outcomes. Each connection, each link may itself seem, on some scale, linear, may seem graspable or comprehensible on some scale; as small linear units or small particles interact in (other) systems, in (additional) systems, complexity can emerge, complexity of brain, complexity of body, complexity of communities, complexities of Planet Earth as a complex system.

Different understandings apply to different scales of consideration, different configurations of inclusion and exclusion; what might seem reasonable (in some system of measure, some system of determination) on some scale in some location for some duration of time may seem less or more reasonable on another scale in another location for another duration of time. As systems themselves interact, as the mind links what may be linkable (yet) in some dimensional configurations of some realities, (temporary) fusions might occur that might give rise to wild possibilities that push and reconfigure what is possible in human 3D realities. Wild mergers. Extraordinary fusions. The rise of Transforkiness! The blending of what might not otherwise be blendable into forms that can extend and enhance human possibility and human responsibility. With advances in reproductive and other biological technologies, it may become (if it is not so already) possible to unite genetic material from same-sex couples into their biological offspring. Should that be done? Pursue an ethical tine of inquiry and explore that, but possibility exists, to be modified by the systems with which that possibility interacts, including systems of ethics in which such assisted reproduction might be ethical and systems of ethics in which such assisted reproduction might not be ethical. Weigh in. Speak up, Humanities, while it's hot (and keep speaking while/after [assuming] it cools, maintaining, in this center, a hot center).

Speak up! There are plums at stake! They are in the refrigerator, but the cold does not prevent a system of rot from, despite retardation, from interacting and perhaps eventually dominating transforming them into a microbe paradise!:
This is Just to Say
by William Carlos Williams

I have eaten
the plums
that were in
the icebox

and which
you were probably
for breakfast

Forgive me
they were delicious
so sweet
and so cold

(image from and text from The Quixotic Life))

To listen to William Carlos Williams, M.D. read This Is Just to Say, the famous SO MUCH plum print poam, click the the play arrow, and consider, among other things, the politics of SO MUCH plum and what forgiveness depends on SO MUCH plum?

All well and good to seek forgiveness, but the deliciousness, sweetness, and the coldness can also be configured to suggest a lack of remorse. These plums were irresistible (just ask Little Jack Horner a possible source of sore thumb syndrome); those qualities meant that a decision to not eat the plums was not an option. If forgetting should be a companion of forgiveness, then forgiveness might be without that companion since the plums were so memorable. Not only did the speaker eat them, but the intensity of the eating was so profound that the speaker cold not resist commenting on these exemplary plums. The speaker remained subordinate to the power of the plums even while seeking forgiveness, a power that perhaps demonstrates that the speaker, helpless when encountering the plums, should be forgiven —who wouldn't be helpless when confronting those plums, other than those for whom it is forbidden to eat plums, those who have tried and disliked plums, those who have no access to plum, those afraid of plums and/or purple, those who distrust drupes and other things bulbous, those allergic, those who associate plums (and their mature stage as prunes) with inconvenient constipation relief and the over-cure of irregularity known as diarrhea? —who wouldn't be helpless when confronting those plums? Quite the antithesis to the sour grapes in the Aesop Fable The Fox and the Grapes:

ONE hot summer’s day a Fox was strolling through an orchard till he came to a bunch of Grapes just ripening on a vine which had been trained over a lofty branch. “Just the things to quench my thirst,? quoth he. Drawing back a few paces, he took a run and a jump, and just missed the bunch. Turning round again with a One, Two, Three, he jumped up, but with no greater success. Again and again he tried after the tempting morsel, but at last had to give it up, and walked away with his nose in the air, saying: “I am sure they are sour.?

(as the fable appears at Bartleby.com)
(Little Jack Horner image from NiteOwl.org)

Posted by thyliasm at 02:48 PM | Comments (2) | TrackBack

November 04, 2008

420 Election Day LFT 420 Cinema (brought to you by Gort & The Stig)

Tonight's LFT 420 Cinema is happy to bring you large-screen coverage of
this Historic US Election

In the meantime:

Check out: video your vote from you tube, voters (and interested international supporters)
all over the country with cameras submitting their footage

and the PBS online NewsHour

Please don't come to DL1 until after you've voted!

Here's a video of an early voting gueue:

A link to Steve Garfield's capture of Jamaica pLain voting gueue this morning

Voting Queues in pictures

Anyone helping to get out the vote for the election is excused from class tonight.

Feel free to bring refreshments as we watch (interact with) election coverage (some polls will close during our meeting time)
and continue to work on our projects that may be fueled/shaped/enhanced/etc. (on some scale in some location) as an outcome of the interaction.

In case you haven't heard it, here's a video of the Irish Pub drinking song
that welcomes O'Bama into the O'Reilly, O'Hare, O'Hara club:

Canadians for Obama

Canadians prank Palin

Couric interviews Palin on foreign policy:

Miss Teen South Carolina on foreign & domestic policy:

McCain roasts Obama @ Alfred E. Smith memorial dinner:

Obama roasts McCain @ Alfred E. Smith memorial dinner:

Posted by thyliasm at 01:35 PM | Comments (2) | TrackBack