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)