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:

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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

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.

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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).

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(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)