Friday, October 30, 2009
Tuesday, October 27, 2009
Zine idea -- putting this in motion
To me, the notion that by the act of choosing to do one thing rather than another, in place of another, we can put into motion a fluid and circuitous series of events and feelings and thus in a fashion shape our daily living, is brimming with potential, anxiety and excitement. The taking of risk, small risks even (putting one's ego on the line, risking embarrassment, true failure, shame, physical injury, etc.) because there is a slight inclination that the risks will generate rewards, in the form of emotional gratification and personal fulfillment, in the future, is fantastic -- it is topsy turvy innocent structure of an idea that has the potential to save us from a dangerous sense of spreading disillusionment.
The general principle of having faith in uncertainty is the premise upon which I am starting this project of writing a personal magazine, which are sometimes called 'zines. The ideas and sentiments that should inform this project include the following:
1) Relationships are the bread and butter of human life and spirit. Meaning is implicated in relationship. It is impossible to believe in the meaning of any person, place or thing without considering its relationship to another person, place or thing.
2) The sharing of personal stories, myths and tales can profoundly change and improve the quality of life for all people.
3) Imperfection is the state to which most things return. It is the oscillation or tension between a heightened perception of beauty and truth and a deep sense of brokenness and need that we begin to incrementally know the color and texture of living.
4) What a person does each day is what the life of said person adds up to. Somewhere in that assertion is the assumption that we must work, and that work need not kill us with boredom, but that in working we can begin to reconcile ourselves to something bigger and better.
5) Chance encounters with strangers are not marginal or peripheral -- there are small joys and despairs that we derive from these brief relationships.
6) Honesty is the best that any person can do.
7) The everyday is an acceptable milieu in which to work.
8) Mixing low and high culture can be fun.
Some topics I want to touch on or illuminate, and questions I want to ask and begin to answer in the writing of the zine:
-- What is it to share with others?
-- Who are some strong women?
-- What do strong women do?
-- What is it to be brave?
-- What is it to grow up?
The general principle of having faith in uncertainty is the premise upon which I am starting this project of writing a personal magazine, which are sometimes called 'zines. The ideas and sentiments that should inform this project include the following:
1) Relationships are the bread and butter of human life and spirit. Meaning is implicated in relationship. It is impossible to believe in the meaning of any person, place or thing without considering its relationship to another person, place or thing.
2) The sharing of personal stories, myths and tales can profoundly change and improve the quality of life for all people.
3) Imperfection is the state to which most things return. It is the oscillation or tension between a heightened perception of beauty and truth and a deep sense of brokenness and need that we begin to incrementally know the color and texture of living.
4) What a person does each day is what the life of said person adds up to. Somewhere in that assertion is the assumption that we must work, and that work need not kill us with boredom, but that in working we can begin to reconcile ourselves to something bigger and better.
5) Chance encounters with strangers are not marginal or peripheral -- there are small joys and despairs that we derive from these brief relationships.
6) Honesty is the best that any person can do.
7) The everyday is an acceptable milieu in which to work.
8) Mixing low and high culture can be fun.
Some topics I want to touch on or illuminate, and questions I want to ask and begin to answer in the writing of the zine:
-- What is it to share with others?
-- Who are some strong women?
-- What do strong women do?
-- What is it to be brave?
-- What is it to grow up?
The infant is narcissistic and enjoys the production of judgment and insult more so than the integration of the self into a greater whole. My creation seems to be most entertained with the manifestation of faults.
I’m going to stop judging these choices as "faults" and understand that there are lessons in the judgments we make on a daily basis. More than a reprimand, my infant needs to explore her tendency to self-absorbed thoughts i.e. what does this mean and why is it noteworthy?
Much like Kanye West at the VMA’s, my infant is acting up.
Vibrational Fusion of a text poam by Pattiann Rogers & Thylias Moss
From the Arts & Bodies Poetry reading, you can listen to the cosmic-fuse poam (product of act[s] of making) as presented during the event in the Rackham Amphitheater:
As vibrations continue, the fusion system is leading to a video poam presently titled Conjoined Constellations whose sound is a studio rendition of the cosmic-fuse poam iteration that was part of the Arts on Earth event. A still from the video poam in progress:
(the Conjoined Constellations of Place and Proximity video poam will be part of the Arts & Bodies Arts Lab on Friday, 6 November at 9:30 am in the Video Studio in the Duderstadt Center)
Listen to the entire Arts & Bodies poetry reading:
As you listen to the entire event, please listen out for another event within the event, one where some of the extraordinary vibrational possibilities of poetry are realized; there is a difference in how language sounds when the poets introduce the poems about to be read and how language sounds within the environment of the poems themselves. As the language of the poem is spoken, space itself is activated by poetic forces, energy, vibration, and the words move apart, become multi-dimensional; more space is allowed for each word to itself become an intellectual and aesthetic habitat; the warping power of the poetic word become apparent; space behaves differently around these words. Sometimes there is an attempt to construct visible evidence of this warping, this displacement, this augmentation of non-poetic event space in the spatial placement and arrangement of the content of the poem, but there is no requirement that visual representation of a poem system betray the vibrational potential of the poem, a weak force perhaps in that much of the energy of the vibrational potential of a text poam goes into the mind and affects primarily perception and understanding, vibrations from interactions with perception and understanding then able to reach and influence human activated, including decision-making and policy-formation, something that perhaps could undergo more frequent encounter with the poetic warping of space that exposes more dimensions to consider in configurations of realities and the impact of a range of configurations on what inhabits those realities.
It is worth noting that the vibrational impulse was so intense as I considered Rogers Place and Proximity that the cosmic fuse poam emerged without the seeking of permission from Pattiann Rogers for the inclusion of some of her text. Because vibrations (idea energy) fused the texts of our pieces into a conjoined, mixed up structure that does not maintain distinction of author integrity within the mix, the text version available here is the fusion, is dependent on being fused; when asked to read a poem for the event by myself and by another author, a scenario system for a fuse poam was enacted. My text poam is an embrace of Roger's Place and Proximity (a form that differs from Roger's typeset intentions for the architecture of text as seen in Eating Bread and Honey It is the child of Pattiann Rogers' text poam and my text poam: Conjoined Constellations. Pattiann Rogers and I are the parents of the cosmic-fuse poam that is the offspring of this marriage I arranged for the occasion of Arts and Bodies. It is our baby that Pattiann, a participant in a conception, is/was (assuming awareness occurs or is occurring now) unaware of as the conception happened, from her (re)configurable point of view, remotely, without the necessity of her consent. And even if now she denies permission, the baby has been born, has a life that is neither Place and Proximity nor Conjoined Constellations alone or separately; it is offspring that inherited from both parents and has its own system of configuration, its own system of being and interaction; it is its own host of vibrations. Here's the text content of Place and Proximity as it appears at Nox Oculis:
I'm surrounded by stars. They cover me completely like an invisible silk veil full of sequins. They touch me, one by one, everywhere-hands, shoulders, lips, ankle hollows, thigh reclusions.
Particular in their presence, like rain, they come also in streams, in storms. Careening, they define more precisely than wind. They enter, cheekbone, breastbone, spine, skull, moving out and in and out, through like threads, like weightless grains of beads in their orbits and rotations, their ritual passages.
They are the luminescence of blood and circuit the body. They are showers of fire filling the dark, myriad spaces of porous bone. What can be nearer to flesh than light ?
And I swallow stars. I eat stars. I breathe stars. I survive on stars. They sound precisely, humming in my nose, in my throat, on my tongue. Stars, stars.
They are above me suspended, drifting, caught in the loom of the elm, similarly enmeshed in my hair. They are below me straight down in the deep. I am immersed in stars. I swim through stars, their swells and currents. I walk on stars. They are less, they are more, even than water even than earth.
They come with immediacy. They are as bound to me as history. No knife, no death can part us.
, though the structure of the text there may in part be an outcome of the idea system interacting with limitation of text display in the book format, which is to say that the vibration patterns of the idea system could map differently in other scenarios, especially scenarios that acknowledge scale as it expands and contracts in the idea system of the poam; like constellations themselves, words appear to be on the same plane although stars, stars may have the proximity of illusion only, the proximity of the limits of human depth perception, that sky a single plane of human perception, a powerful yet inescapable gathering of the stars, tethering them with an inability to separate them into vastly far apart celestial objects that have no alliance to form in their own perspective patterns we see as star neighborhoods, as constellations onto which humans are able to project and illuminate aspects of human understanding; but I would not want to give up the beauty I can impose on star groupings and clusters, the configurable nature of star clusters to form shapes of some of what is familiar and close, a visual intimacy with stars and their radiant invitation to play connect the dots I am reminded of what Gwyneth Paltrow says at the end of Proof, of the navigation of the math being like connect the dots, but at times she couldn't find the next dot or wasn't even sure that there was a next dot, but the tether itself proves trustworthy Here's the trailer):
The paper page, of necessity, of its usual (pop-up books a notable exception) 2D playback of content displayed in its flat (or flattened) environment compresses multidimensional content into a form the flat page can accommodate; most mirrors do not display our faces in 3D. Reading the text poam, experiencing the text poam in a variety of ways can assist in uncompressing the poam. Compression of the text poam so as to inhabit an environment of fewer dimensions flattens those dimensions, rather like nets of polyhedra:
a flattened or compressed form of a dodecahedron:
(from mathnstuff.com) and a dodecahedron and its net:
(from boxvox.net)
At Origami Polyhedra, a step-by-step guide to making compressed and uncompressed forms of polyhedra can be experienced.
As vibrations continue, the fusion system is leading to a video poam presently titled Conjoined Constellations whose sound is a studio rendition of the cosmic-fuse poam iteration that was part of the Arts on Earth event. A still from the video poam in progress:
(the Conjoined Constellations of Place and Proximity video poam will be part of the Arts & Bodies Arts Lab on Friday, 6 November at 9:30 am in the Video Studio in the Duderstadt Center)
Listen to the entire Arts & Bodies poetry reading:
As you listen to the entire event, please listen out for another event within the event, one where some of the extraordinary vibrational possibilities of poetry are realized; there is a difference in how language sounds when the poets introduce the poems about to be read and how language sounds within the environment of the poems themselves. As the language of the poem is spoken, space itself is activated by poetic forces, energy, vibration, and the words move apart, become multi-dimensional; more space is allowed for each word to itself become an intellectual and aesthetic habitat; the warping power of the poetic word become apparent; space behaves differently around these words. Sometimes there is an attempt to construct visible evidence of this warping, this displacement, this augmentation of non-poetic event space in the spatial placement and arrangement of the content of the poem, but there is no requirement that visual representation of a poem system betray the vibrational potential of the poem, a weak force perhaps in that much of the energy of the vibrational potential of a text poam goes into the mind and affects primarily perception and understanding, vibrations from interactions with perception and understanding then able to reach and influence human activated, including decision-making and policy-formation, something that perhaps could undergo more frequent encounter with the poetic warping of space that exposes more dimensions to consider in configurations of realities and the impact of a range of configurations on what inhabits those realities.
It is worth noting that the vibrational impulse was so intense as I considered Rogers Place and Proximity that the cosmic fuse poam emerged without the seeking of permission from Pattiann Rogers for the inclusion of some of her text. Because vibrations (idea energy) fused the texts of our pieces into a conjoined, mixed up structure that does not maintain distinction of author integrity within the mix, the text version available here is the fusion, is dependent on being fused; when asked to read a poem for the event by myself and by another author, a scenario system for a fuse poam was enacted. My text poam is an embrace of Roger's Place and Proximity (a form that differs from Roger's typeset intentions for the architecture of text as seen in Eating Bread and Honey It is the child of Pattiann Rogers' text poam and my text poam: Conjoined Constellations. Pattiann Rogers and I are the parents of the cosmic-fuse poam that is the offspring of this marriage I arranged for the occasion of Arts and Bodies. It is our baby that Pattiann, a participant in a conception, is/was (assuming awareness occurs or is occurring now) unaware of as the conception happened, from her (re)configurable point of view, remotely, without the necessity of her consent. And even if now she denies permission, the baby has been born, has a life that is neither Place and Proximity nor Conjoined Constellations alone or separately; it is offspring that inherited from both parents and has its own system of configuration, its own system of being and interaction; it is its own host of vibrations. Here's the text content of Place and Proximity as it appears at Nox Oculis:
I'm surrounded by stars. They cover me completely like an invisible silk veil full of sequins. They touch me, one by one, everywhere-hands, shoulders, lips, ankle hollows, thigh reclusions.
Particular in their presence, like rain, they come also in streams, in storms. Careening, they define more precisely than wind. They enter, cheekbone, breastbone, spine, skull, moving out and in and out, through like threads, like weightless grains of beads in their orbits and rotations, their ritual passages.
They are the luminescence of blood and circuit the body. They are showers of fire filling the dark, myriad spaces of porous bone. What can be nearer to flesh than light ?
And I swallow stars. I eat stars. I breathe stars. I survive on stars. They sound precisely, humming in my nose, in my throat, on my tongue. Stars, stars.
They are above me suspended, drifting, caught in the loom of the elm, similarly enmeshed in my hair. They are below me straight down in the deep. I am immersed in stars. I swim through stars, their swells and currents. I walk on stars. They are less, they are more, even than water even than earth.
They come with immediacy. They are as bound to me as history. No knife, no death can part us.
, though the structure of the text there may in part be an outcome of the idea system interacting with limitation of text display in the book format, which is to say that the vibration patterns of the idea system could map differently in other scenarios, especially scenarios that acknowledge scale as it expands and contracts in the idea system of the poam; like constellations themselves, words appear to be on the same plane although stars, stars may have the proximity of illusion only, the proximity of the limits of human depth perception, that sky a single plane of human perception, a powerful yet inescapable gathering of the stars, tethering them with an inability to separate them into vastly far apart celestial objects that have no alliance to form in their own perspective patterns we see as star neighborhoods, as constellations onto which humans are able to project and illuminate aspects of human understanding; but I would not want to give up the beauty I can impose on star groupings and clusters, the configurable nature of star clusters to form shapes of some of what is familiar and close, a visual intimacy with stars and their radiant invitation to play connect the dots I am reminded of what Gwyneth Paltrow says at the end of Proof, of the navigation of the math being like connect the dots, but at times she couldn't find the next dot or wasn't even sure that there was a next dot, but the tether itself proves trustworthy Here's the trailer):The paper page, of necessity, of its usual (pop-up books a notable exception) 2D playback of content displayed in its flat (or flattened) environment compresses multidimensional content into a form the flat page can accommodate; most mirrors do not display our faces in 3D. Reading the text poam, experiencing the text poam in a variety of ways can assist in uncompressing the poam. Compression of the text poam so as to inhabit an environment of fewer dimensions flattens those dimensions, rather like nets of polyhedra:
a flattened or compressed form of a dodecahedron:
(from mathnstuff.com) and a dodecahedron and its net:
(from boxvox.net)
At Origami Polyhedra, a step-by-step guide to making compressed and uncompressed forms of polyhedra can be experienced.
Sunday, October 25, 2009
Physical Vibrations
I feel that sometimes in limited fork, the physical manifestations of vibrations are ignored. I would like to recollect on one of the most direct encounters I had with the physical aspect of vibrations.
This happened on Wednesday, October 21st at the Eastern Michigan University Convocation Center during the Jay-Z concert, and the vibrations I noticed were audible and occurred in the "stimulus-response" manner. For example, when the lights dimmed in the auditorium and Jay-Z took the stage, the crowd responded by cheering. When Jay-Z waved his arms from side to side the crowd responded by mimicking his movements. When he pointed the mic towards the fans, they responded by yelling the lyrics to the song.
This is just to say that vibrations can truly take any form, and that the conversion from thought to action and stimulus to response are one in the same.
This happened on Wednesday, October 21st at the Eastern Michigan University Convocation Center during the Jay-Z concert, and the vibrations I noticed were audible and occurred in the "stimulus-response" manner. For example, when the lights dimmed in the auditorium and Jay-Z took the stage, the crowd responded by cheering. When Jay-Z waved his arms from side to side the crowd responded by mimicking his movements. When he pointed the mic towards the fans, they responded by yelling the lyrics to the song.
This is just to say that vibrations can truly take any form, and that the conversion from thought to action and stimulus to response are one in the same.
Wednesday, October 14, 2009
DJ Adio at Beachwood Place with Phillip Bimstein's "Door" music reveal some of the Vibrational Ways of Doors in Augmenting [Limited Forked] Configurable Spaces
From an interface system and intersection system of interactions comes this involuntary and voluntary collaboration of vibrations:
DJ Adio in Beachwood Place in a front window system of a mall shop, in a corner where two glass walls met, interacting with themselves, with light, and hosting a party of reflections.
DJ Adio in Beachwood Place remixing experience, remixing and reconfiguring interactions, generating, intercepting, re-transmitting, reconfiguring vibrations --wave patterns-- --movement-- of sound and light; there are moments in which reflections of shoppers walking by the store converge in DJ Adio, his jacket becoming a singularity of a moment he is making, he is mixing, as if for forkergirl to configure with help from Phillip Kent Bimstein's music of the door. DJ Adio mixing and remixing the moment, collaborating with all contributing to the moment that he extended and that is now being extended again, to the delight of Limited Fork Theory, the moment, the collaboration expanding, growing, forking, bifurcating in multiple directions, on multiple scales, configuring temporary framework systems for temporary meanings, temporary architectures of possible realities embedded in the configurable (if only in imagination) natures of what exists, what has existed, what can exist;
DJ Adio is a door system exposing some of the ways of doors; the event happens on/in the door itself, is a door not to the event, but to what the event reaches as the vibrations of its activity fan and ripple out --as if seeking connection
AND connecting with forkergirl who adds spoken vocals (Ghost Delay Response Relay) to a soundtrack whose foundation is Phillip Kent Bimstein's The Door (an exceptional track from an exceptional album: Garland Hirschi's Cows) and snippets of a forked collage of Joseph Bertolozzi's Mid-Hudson Bridge Music and tracks composed/played by forkergirl on the Limited Fork iPhone.
Do note: though no space for this DJ Adio system of expansion had been previously allocated, space for the moment opened, stretched, warped into availability when needed; an intensity of interaction bent what was already there, establishing a door system of access.
Tuesday, October 13, 2009
Each week we meet on Tuesdays from 6-9 PM at Design Lab 1 at the Duderstadt Center, University of Michigan, Ann Arbor. But how do we know that this area is DL1, why can it not extend into the nearby atrium, coffee shop, to the Bell Tower and into Central Campus. All of our boundaries are defined by mere convention.
DL1 is not restricted merely to the chairs and computers inside this room, but rather to the thoughts, vibrations and experiences shared by all of those in it. DL1 will continue to exist in my mind as I get on the Commuter South and head to my house. It will continue to exist in your minds as you read this post, and develop thoughts of your own.
In the commotion that is thought, and the greater commotion that is vibration, it is interesting to think that every Tuesday from 6-9 PM at Design Lab 1 at the Duderstadt Center I will see all of you. I may or may not see you during the other 165 hours during the week, but our physical beings will exist in this restricted physical space at this time.
Though I can see you and you can see me at the same location that does not necessarily mean that we are at the same place. Place defined by thought is on a completely different level. We could be staring at each other but still be pondering entities completely independent of each other. This fact was clearly illustrated with the memory experiment last week.
So imagine applying this concept universally. When you are in class at 10 am, you may not be in class. When you are sleeping in your bed at three in the morning, you may not be sleeping in your bed, and though you may be in DL1 right now, you actually may not be, or maybe you are.
DL1 is not restricted merely to the chairs and computers inside this room, but rather to the thoughts, vibrations and experiences shared by all of those in it. DL1 will continue to exist in my mind as I get on the Commuter South and head to my house. It will continue to exist in your minds as you read this post, and develop thoughts of your own.
In the commotion that is thought, and the greater commotion that is vibration, it is interesting to think that every Tuesday from 6-9 PM at Design Lab 1 at the Duderstadt Center I will see all of you. I may or may not see you during the other 165 hours during the week, but our physical beings will exist in this restricted physical space at this time.
Though I can see you and you can see me at the same location that does not necessarily mean that we are at the same place. Place defined by thought is on a completely different level. We could be staring at each other but still be pondering entities completely independent of each other. This fact was clearly illustrated with the memory experiment last week.
So imagine applying this concept universally. When you are in class at 10 am, you may not be in class. When you are sleeping in your bed at three in the morning, you may not be sleeping in your bed, and though you may be in DL1 right now, you actually may not be, or maybe you are.
I am in a class: Celebrity Stagecraft
In this course we were given three ways to conceptualize the self:
I am convinced that the most influential self-category is the third: the self as a series of relationships.
Without realizing, I have documented, through the past three years, new relationships with my recording device. Coincidently, I have documentation from October 2007, 2008, and 2009.
In all my footage, as I add relations, and my existing relationships change, there is a changing self (a new fold). Even if the same people appear in the recording, inevitably, our relational vibration has been modified.
I plan to take said documentation and create with it a sonic sculpture of self using the voices/music of others and myself. I will not limit my exploration to the confines of sonic arrangement, but may allow these snippets of sound to inform work through alternate mediums: all being related to this idea of the self as a series of relationships or a series of changing vibrations.
As relationships inform thoughts/ideologies/information/ways-of-doing, I change, and yet I am resistant (or so I think).
In this course we were given three ways to conceptualize the self:
- The self as an essential nugget of individuality
- The self as associated with institutions
- The self as a series of relationships
I am convinced that the most influential self-category is the third: the self as a series of relationships.
Without realizing, I have documented, through the past three years, new relationships with my recording device. Coincidently, I have documentation from October 2007, 2008, and 2009.
In all my footage, as I add relations, and my existing relationships change, there is a changing self (a new fold). Even if the same people appear in the recording, inevitably, our relational vibration has been modified.
I plan to take said documentation and create with it a sonic sculpture of self using the voices/music of others and myself. I will not limit my exploration to the confines of sonic arrangement, but may allow these snippets of sound to inform work through alternate mediums: all being related to this idea of the self as a series of relationships or a series of changing vibrations.
As relationships inform thoughts/ideologies/information/ways-of-doing, I change, and yet I am resistant (or so I think).
Wednesday, October 7, 2009
Memory
I just happened to come across this video from wired.com. It's a documentary about the relationship between mathematics, patterns and origami. There is a line in this video about the "memory" of the paper. It reminded me exactly of the explorations we had in class yesterday, and also gave me the idea for my semester (and maybe lifelong) project. Enjoy.
http://www.wired.com/video/origami-documentary-goes-between-the-folds/43013469001
Asperatus cloud form (& other patterns/vibrations/resonances of aspiration: configured as a longing for connection)
Acknowledging vibrations of our bodies, pulsations, heartbeat,
movement on the cellular level, the fluid motion of our dominant wateriness --66%
--of course we respond to patterns that map moments in patterns that our fluid selves temporarily occupy; there is a kaleidoscopic nature to aspects, to dimensions of experience and existence.
Do take note of a new cloud formation, cloud pattern, cloud configuration (also fluid): whose patterns suggest some of the folds in our own brains, some of the folds of ideas that are fluid and dynamic:
Introducing Asperatus
--some of our scribble pads brain models opened up just a bit,
a canopy of thought, a roof of purpose.
Limited Fork Theory loves this, ridges the shape of something
configured as it passes through tines --marked by the passage.
On Wednesday 14 October at 7:30 pm in Rackham Auditorium,
there will be a reading of poetry about bodies by poets of our community.
Each poet will read a poem that the reader has written as well as a poem
about bodies by another author.
--What a great opportunity to capture sound, perhaps also video
that you may work into your adventure in vibration, in movement,
in fluidity --in resonance which functions as a form of extension.
movement on the cellular level, the fluid motion of our dominant wateriness --66%
--of course we respond to patterns that map moments in patterns that our fluid selves temporarily occupy; there is a kaleidoscopic nature to aspects, to dimensions of experience and existence.
Do take note of a new cloud formation, cloud pattern, cloud configuration (also fluid): whose patterns suggest some of the folds in our own brains, some of the folds of ideas that are fluid and dynamic:
Introducing Asperatus
--some of our scribble pads brain models opened up just a bit,
a canopy of thought, a roof of purpose.
Limited Fork Theory loves this, ridges the shape of something
configured as it passes through tines --marked by the passage.
On Wednesday 14 October at 7:30 pm in Rackham Auditorium,
there will be a reading of poetry about bodies by poets of our community.
Each poet will read a poem that the reader has written as well as a poem
about bodies by another author.
--What a great opportunity to capture sound, perhaps also video
that you may work into your adventure in vibration, in movement,
in fluidity --in resonance which functions as a form of extension.
Tuesday, October 6, 2009
Visual/Textual Response to Marking Assignment
revisedcopy.jpg)
Note in my record of our collaboration how I've altered the photograph in such a way as to embolden the folds of the paper that denote brain shape. Though we all took the same course of action in crumpling the paper, my manipulation of the image highlights the very different outcomes that we reached.
HYPNOSIS AT THE BIRD FACTORY (an adventure in vibration studies) plus a link to forkergirl's report
To read the vibration studies text report that accompanies and/or supplements and/or configures the hypnosis that occurred at the bird factory on the occasion of finding a feather deep within a halibut, an occasion whose vibrations stabilized as a culmination of a search to find intelligent life in other iterations of realities (the search, the adventure, the video, the report being iterations themselves), click here
Monday, October 5, 2009
Project that seeks to examine the Human Condition
I intend to create a video montage that will express the inner struggle for meaning inherent to the human condition. The montage will contain chronologically arranged images and videos that depict the emotional and behavioral progressions of different notable personalities. I am also recording the behavior of a personal acquaintance on a daily basis. This information will all serve to reinforce the notion that varying personalities and their interactions create a "ripple effect" that affects everything to some exent. In other words, the video will examine "vibrations" as series of actions that have an equally profound effect on one another.
~Tim
~Tim
Sunday, October 4, 2009
"But there is another method,
...the method of life we all lead." -- Olive Schreiner
The title of this blog is one of the three epigraphs at the beginning of John Berryman's The Dream Songs. I found it fitting.
I am embarking on a journey of intimacy in certain forms. Aside from romantic intimacies are intimacies with food, or sports, art (producing, and appreciating), our home, the idea and the intimacy with home, with language as a gateway to intimacies of the past and present (or perhaps deepening already intimate connections), how we imbue intimacies in/with/around objects (like a photograph). Our individual intimacies with our memories. What technology has done to capitalize or entice intimacies. The evolution of intimacy from generation to generation, or differences between classes on what intimacies are valued; that is, how we may be conditioned to have or work toward achieving certain levels of intimacies with specific people/things, and not others.
These are just examples of forms of intimacy.
To focus my thought project a bit...
...I recently witnessed the fluidity of intimacies within my home-life. The transference of intimacy has been a consequence of recent tragic, life-altering circumstances. An intimate relationship of my own has been directly affected/weakened as another one of her intimacies has intensified. This has made me more aware ('hyper aware') of other intimacies in my own as I've managed to dig up old intimacies, to reflect, and rekindle. I am going to continue with this.
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