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.


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

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

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

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

for some duration of time on some scale.

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:

(from cbs where the video may be experienced in an intended context)


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

on some scale for some duration of time

--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 fascinating that imagination, and the universes it can construct which may be capable of overcoming (including successfully erroneously overcoming them); capable of overcoming laws provable in objective means in objective 3D-dominated spaces, exists within a 3D brain, some interesting negotiation of transitions from 3D to MoreD apparently occurring.

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.

(from Our Place in the Multiverse a Nature article by James Silk, an article that used the image from science photo library for which this credit: . BAUM/SPL

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.

(from Fading Ad Blog where you can experience the image in an intended context)

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.

Retractable dimensions.

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).


(some of)
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).

(from Wikipedia commons where the image may be experienced in an intended context)

(from where the image may be experienced in an intended context)

(from U of M Geophysics where the image may be experienced in an intended context)

(from where the image may be experienced in an intended context)

Just Imagine!
strings of,

--of various scales, of varying densities, of various sizes, of various substances, of various masses--

arrangements of
configurations of

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

(from Rutgers New jersey Environmental Experiment Station where the image may be experienced in an intended context)

Posted by thyliasm at 05:46 PM | Comments (0)