October 27, 2008

420 Cinema and Gort & The Stig's favorite books

plus: some of your own sharpness


Tonight, on 420 Cinema a dozen perceptual framing system films**:

be impressed with yourself in The Body in Numbers trailer
be introduced to The Boy Who Sees Through Sound
join those who are (also) Losing Reality
explore realities of My Fake Baby

witness some of the power of appetite in Super Skinny Me
experience the ultimate solitude of Alone (documentary about a sensory deprivation experiment)
discover what happens When Senses Collide (bump into more colliding senses [synesthesia] here)
reconnect with your Neanderthal Code connections
and try them out in Pan's Labyrinth: the feast and fairies chalked sequence
then travel East of Havana
and be back in time for when New Orleans goes up for sale

(** for educational purposes only)



These endless web log pages can, when desired, be exported as a single file to my computer's desktop where the file could be imported to another web log or used in any of the ways a digital file may be used, including conversion of the web lob into a print object via pdf or, for instance, through Booksmart software/services at Blurb.com. (image from Blurb.com)


There are other possibilities
for both new print object production and alternative physical libraries and artifacts for those alternative physical libraries.

In partial preparation for some of these possibilities, and for your own inventions, please take a look at:

We Tell Stories an alternative library framing system and alternative artifact framing system

Comment Press is a social text tool that, as stated at the site: allows readers to comment paragraph by paragraph in the margins of a text. Annotate, gloss, workshop, debate: with CommentPress you can do all of these things on a finer-grained level, turning a document into a conversation. It can be applied to a fixed document (paper/essay/book etc.) or to a running blog. ¡Try it out! (download instructions and examples are at Comment Press)

and examine THE BOOK ART OF ROBERT THE, CARA BARER, AND JACQUELINE RUSH LEE in an essay by Elizabeth Wadell. More of Cara Barer's book art, favorites of Gort and The Stig, can be seen at Book Art All-Stars at deep linking.net.

Alternative artifact framing systems may apply not only to a book system, but also to a book subsystem such as a page (such as these and other web log endless single pages) single word, and/or a single word as in Lisp by Ed Ruscha. Do also check out the word art at word art.

There are a number of online tools/generators that can transform your online information into other forms of information, other digital structures and architectures, that may also function as aesthetic digital or virtual objects. You can convert any (of your or other) web pages into a visualization or graph at Web pages as Graphs where three of the entries for this blog were converted: 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, GORT, LIMITED FORK THEORY, and THE STIG!, and last week's 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) entry.

Support of the web page graphing is through Fernando Luis Lara's alternative generation of and cataloguing of narrative information submitted to the 365 Special Days site.

Word Cloud generation of web page/blog content for alternative artifact mapping is available at Wordle.com where these clouds of this web log were generated:

______________________________________


When we last assembled, this was said, marking, in various ways, some subtle, for the moment, the moment and its associates, its riders, its steerers:

"I always try to avoid traveling with knives"
"I always travel with knives.... I had an out-of-body experience"

The subject of the evening became Helvetica, the choice of, physical configuration of thought, idea, agenda in the taking on of text form.

The subject of the evening was thew context of your projects within a system of obstruction (interaction as obstruction) of urgency: political, social, cultural, etc. urgency —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.

And knives have something to do with this, the urgency that supports avoiding traveling with knives, & the urgency that supports always traveling with knives

The following stories may be considered, in some way, on some scale, for some duration of time, forms of knives:
The Circular Ruins by Jorge Luis Borges
The Garden of Forking Paths --ah: not just configuration(s) pf Borges's story, but also a virual experience of implications of the information, of what is among what is embedded in the information, what emerges as the information of the forking paths, of the garden is flexibly configured--
The Garden of Forking Paths --ah: the story, dynamically unfolds
The Garden of Forking Paths --ah: a full text version


There is an arrangement of knife and fork in which the knife becomes transparent:

(from tricks and illusions.com)


In Gabriel Garcia Lorca's The Quarrel, you can read about the knife, as in these lines from The Quarrel:

In mid-ravine
the Albacete knives
lovely with enemy blood
shine like fishes.
A hard light of playing-cards
silhouettes on the sharp green
angry horses
and profiles of riders.
In the heart of an olive-tree
two old women grieve.
The bull of the quarrel
climbs the walls.
Black angels bring
wet snow and handkerchiefs.
Angels with vast wings
like Albacete knives.
Juan Antonio of Montilla,
dead, rolls down the slope,
his corpse covered with lilies
and a pomegranate on his brow.
Now he mounts a cross of fire
on the roadway of death.

My having heard the comments about knives, my having received/been receptive to the being marked by) the incoming information that attached itself to a number of information hubs in the brain while also forming a new hub based on intersections of this arriving information and associated situations,
a new hub feeding/generating/supporting/configuring a system/subsystem of connection/meaning in which how Gort and tHe Stig might use knives, might have knives used against them begins unfolding

--like a switchblade.


So the 420 comments about knives function as obstructions to the agenda in place before the arival of the comments that reconfigured the agenda to include them, a reconfiguration in which I have some complicity via my attraction to the knives, an attraction much informed by a prior obstructive encounter with Lorca's The Quarrel. That an architecture of knives is important to my thinking seems reasonable to assume, and is something that will transform to a subsystem of my own agendas as I map further, as I allow/encourage folds of engagement with the idea system to become more defined, more sharp, more necessary for me to pursue toward some unfolding of some form of poam, more research and thinking, more constructing of imagined possibilities/realities for knives becoming necessary for (a self-generated) sense of significance to inhabit the folds that through such emphasis become reinforced and able to support further and/or intensifying investigation.

These Obstructions could not be avoided. I was sideswiped by them; they made an impression on my thinking

in part because of (acquired and modified) programming of my mind, so that attraction and preference help me focus on and embrace those knives, and link them now, through imagination-nurtured recollections of the film Freaks

As it turns out, there are indeed knives in the movie Freaks, as indicated in the plot summary at Wikipedia, the source of the following quote

Shortly thereafter, Hans is taken ill (presumably from having too much to drink at the wedding feast, but actually from poison that Cleopatra slipped him) and Cleopatra begins slipping poison into Hans' medicine to kill him so that she can inherit his money and run away with Hercules. One of the circus performers overhears Cleopatra talking to Hercules about the murder plot, and tells the other freaks and Hans; in the film's climax, the freaks attack Cleopatra and Hercules with guns, knives, and various edged weapons, hideously mutilating them. Though Hercules is never seen again, the original ending of the film had the freaks castrating him - the audience sees him later singing in falsetto. The film concludes with a revelation of Cleopatra's fate: her tongue cut out, one eye gouged and legs hacked off, she has been reduced to performing in a sideshow as the imbecile squawking "human chicken".

This commentary on knives in the movie Freaks comes from Adam-Troy Castro at SciFi weekly:

The original cut, removed by censors and no longer extant, sounds clearer: It seems that Cleopatra's legs are crushed by a falling tree, just before the freaks swarm over her with their knives. When we cut to her future existence in a sideshow, the feathers become easy to buy as part of a costume, "gaffing" the existing injuries of a woman whose legs have been amputated. It's still a horrific fate, but at least it makes some kind of logical sense. And it's too bad that the cut in existence also omits a shot of Hercules, also confined to the sideshow, singing along with the duck woman in falsetto. But the clear implication that he's been emasculated was never going to be allowed to pass muster in 1932 movie theaters—any more than this almost-as-emasculated final version was. Because Freaks was considered so horrifying, at its time, that it was banned in many countries and in some sections of the United States for more than 30 years.


Now I know that Edward Scissorhands might be Gort and The Stig's distant (though the space is closing) cousin:



Freaks: the movie
(look for the knives, those on screen, and those implied, suggested; those that can be [successfully] imposed, added, cut into the [replaying] of the film)


--tonight's 420 film festivals offers realities within realities, flexible framing systems that intersect with other flexible systems, though without overlapping completely; converging and diverging, looping, twisting systems of information folding and unfolding into a variety of geometries and architectures of meaning, experience, possibility, preference, realities.

Right here, you can see more of Ben Underwood from a CBS news story:


--at Reborn-baby.com The process of reborning a doll is being able to create as realistic baby as possible without producing actual babies which sometimes is not an option.

Here's a clip from the BBC documentary:

Watch more Glumbert videos on AOL Video

Juxtaposed with lived fantasy, with fantasy merged with lived shared reality is this scene that offers most of the clip (without the writing that appears in a seemingly blank book that helps open access to the reality of a monster (residing inside the language that designates him, his world, the rules of that world, and the bridge systems from that world to others):

For perceptual framing, for imagined and imaginative constructions, for compromised and compromising reconfigurations, for mutation, transformation, enhancement, interaction anything that exists somewhere on some scale for some duration of time is/can become/has been available for use, for consideration, for possibilities for scaffolding that might support meaning or some other ([flexibly] constructed) form of use; as if anything (including New Orleans) can be/is/has been/will be for sale, can be/is/has been/will be part of the stuff from which experience is processed:

Posted by thyliasm at 07:03 PM | Comments (2) | TrackBack

September 25, 2008

GORT, LIMITED FORK THEORY, and THE STIG!



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
care.


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
ascending.


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
Reconsider
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
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)

then

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.
Really.
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)

March 25, 2008

FOLDS

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 news.com 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 MIQUEL.com 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 Palimpest.Stanford.edu 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 )
configuration

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)