Using the elements of the textual representation of the memory to create an interactive one.
For All Seasons
Friday, November 27, 2009
Orchids: Love Dolls
Thylias' email reminded me about an article I read in National Geographic a few weeks ago. It's got some great pictures of these wily orchids...
Orchids: love and lies(http://ngm.nationalgeographic.com/2009/09/orchids/pollan-text)
Thursday, November 26, 2009
International Body Music Festival
I was listening to Michigan Radio's "The World" program this evening and heard about this festival. What more fitting an event related to Arts & Bodies!
CrossPulse
CrossPulse
Tuesday, November 24, 2009
Guerrilla Theatre
I came across something in my research on guerrilla theatre. This is from: http://www.diggers.org/guerrilla_theatre_1965.htm
It is a quote regarding guerrilla theatre. I find it rather inspirational.
"There is a vision in this theatre, and it is not that of the lonely painter or novelist who struggles through his denial years, suffering, and finally breaking into the "big time." The "big time" usually means Life magazine commercial success. But in this case it is to continue — I repeat — to continue presenting moral plays and to confront hypocrisy in the society."
I hope to play a part in this action.
p.s. That "Stuff" video was chocked full of "True Words."
It is a quote regarding guerrilla theatre. I find it rather inspirational.
"There is a vision in this theatre, and it is not that of the lonely painter or novelist who struggles through his denial years, suffering, and finally breaking into the "big time." The "big time" usually means Life magazine commercial success. But in this case it is to continue — I repeat — to continue presenting moral plays and to confront hypocrisy in the society."
I hope to play a part in this action.
p.s. That "Stuff" video was chocked full of "True Words."
Secret collecting, list of compliments, fortune cookie fortunes
Compliment lists
During the last week of senior year, my A.P. literature teacher told our class about an assignment that she had been giving for some time on the last day of class, one that she learned about from a teacher-friend, who had begun the tradition. The assignment was thus: our teacher distributed a list of the people in class to each student, and told us to come up with one compliment for every person. We were to email the lists with appended compliments to her, and she would compile them, so that each person in class had a relative ton of compliments next to his or her name. Then, on the last day she would print off a copy of every student's compliments and give it to that student to keep for as long as he or she wanted to keep it. For example, Tomas, a guy in my class, had 20-odd compliments on a piece of paper on that last day, one from every person in class, all of them different (if only slightly). The rationale behind the compliment-gathering-assignment was found in a story that she told us. Her teacher-friend, the one who had given her the idea, had started the practice in the seventies. One of her former students was drafted in the Vietnam War. He was killed there. His army friend found his body and went through the pockets. In one pocket he found a piece of folded, faded paper -- the sheet with all of his classmates' compliments. Eventually the soldier's mother found out about the compliment sheet and it made her happy to read all of the things that his classmates had written about him way back in high school.
It is a semi-cheesy story, and acquired third-hand. However that may be, I feel that it is a wonderful example of real vibrations and resonance. The mother had not known until her son died that he had participated in these interactions with his classmates; had not known that such a reserve of kindness and camaraderie had been expressed for him. It was a door opened onto some small world in which her son existed that she had not known about before. This is not necessarily something that I want to pursue directly or overtly in my term project, but I feel that it's a good example of the phenomenon that was discussed in class today about finding life and finding communion where you would not expect it.
Secret sharing
The other thing I want to write about is secret sharing (anonymous). According to someone named Jon, secrets are necessarily bad things, no matter what the actual secret concerns. For him, a secret is either a vague, free-floating wound of sorts, or unshared happiness; some bit of information that really should be attached to a person, in any case. My opinion is that secrets are vectors for communication between people even if the communication is incomplete. I'm interested in the ways that secrets shared anonymously can change the daily flow of life for individuals. How might one person's secret influence another? Are secrets political? Can secret sharing move one person out of a "zombie" phase into a fully (or at least progressively more) awakened state?
This idea is somewhat borrowed from the PostSecret enterprise, wherein anyone can fill out a postcard with a secret anonymously and send it to him, and he might publish the postcard in a book. My idea is to collect secrets from people, totally voluntarily and anonymously, and re-print them on the pages of my zine. Each secret would either be set off from the rest of the text with a special box or frame, or it wouldn't -- it would be inserted into the text in a less obvious, more subtle way. Then, when the zine is finished, I will print enough copies for everyone who submitted a secret so that they can read other people's secrets and react how they will. One important thing about this project is that it is not meant to embarrass or in any way hurt people who have submitted secrets. Secrets need not be "bad," "shameful" or what have you (they can be, though) -- they can just as well be light, funny, heartwarming, revelatory, or quotidian. The point is to communicate something that really needs to be communicated, shared. I want it to be an exercise in making something external that had previously been internal.
Fortune cookies
I don't have anything really to say about these except that they would be a neat visual addition to a zine.
During the last week of senior year, my A.P. literature teacher told our class about an assignment that she had been giving for some time on the last day of class, one that she learned about from a teacher-friend, who had begun the tradition. The assignment was thus: our teacher distributed a list of the people in class to each student, and told us to come up with one compliment for every person. We were to email the lists with appended compliments to her, and she would compile them, so that each person in class had a relative ton of compliments next to his or her name. Then, on the last day she would print off a copy of every student's compliments and give it to that student to keep for as long as he or she wanted to keep it. For example, Tomas, a guy in my class, had 20-odd compliments on a piece of paper on that last day, one from every person in class, all of them different (if only slightly). The rationale behind the compliment-gathering-assignment was found in a story that she told us. Her teacher-friend, the one who had given her the idea, had started the practice in the seventies. One of her former students was drafted in the Vietnam War. He was killed there. His army friend found his body and went through the pockets. In one pocket he found a piece of folded, faded paper -- the sheet with all of his classmates' compliments. Eventually the soldier's mother found out about the compliment sheet and it made her happy to read all of the things that his classmates had written about him way back in high school.
It is a semi-cheesy story, and acquired third-hand. However that may be, I feel that it is a wonderful example of real vibrations and resonance. The mother had not known until her son died that he had participated in these interactions with his classmates; had not known that such a reserve of kindness and camaraderie had been expressed for him. It was a door opened onto some small world in which her son existed that she had not known about before. This is not necessarily something that I want to pursue directly or overtly in my term project, but I feel that it's a good example of the phenomenon that was discussed in class today about finding life and finding communion where you would not expect it.
Secret sharing
The other thing I want to write about is secret sharing (anonymous). According to someone named Jon, secrets are necessarily bad things, no matter what the actual secret concerns. For him, a secret is either a vague, free-floating wound of sorts, or unshared happiness; some bit of information that really should be attached to a person, in any case. My opinion is that secrets are vectors for communication between people even if the communication is incomplete. I'm interested in the ways that secrets shared anonymously can change the daily flow of life for individuals. How might one person's secret influence another? Are secrets political? Can secret sharing move one person out of a "zombie" phase into a fully (or at least progressively more) awakened state?
This idea is somewhat borrowed from the PostSecret enterprise, wherein anyone can fill out a postcard with a secret anonymously and send it to him, and he might publish the postcard in a book. My idea is to collect secrets from people, totally voluntarily and anonymously, and re-print them on the pages of my zine. Each secret would either be set off from the rest of the text with a special box or frame, or it wouldn't -- it would be inserted into the text in a less obvious, more subtle way. Then, when the zine is finished, I will print enough copies for everyone who submitted a secret so that they can read other people's secrets and react how they will. One important thing about this project is that it is not meant to embarrass or in any way hurt people who have submitted secrets. Secrets need not be "bad," "shameful" or what have you (they can be, though) -- they can just as well be light, funny, heartwarming, revelatory, or quotidian. The point is to communicate something that really needs to be communicated, shared. I want it to be an exercise in making something external that had previously been internal.
Fortune cookies
I don't have anything really to say about these except that they would be a neat visual addition to a zine.
Thursday, November 19, 2009
this is not a blog post.
Let's play a game. I'll warn you, this will get complicated, but bear with me.
What do you see here? If you answered "a kitten," what led you to this conclusion? Was it the fur? The whiskers? The ears?
Or maybe you answered that it was a picture of a kitten. How did you decide this?
It's possible you even answered that it was a group of pixels organized to form an image of a kitten. You might have gone a step further and answered that it was a collection of variously sized light waves hitting your retina.
Now, you might think I'm reading too deeply into this and setting you up to answer a seemingly easy question incorrectly. The point I'm trying to make is that all of your potential answers are correct, but that they are all borne from different ideas.
The human existence is one of perception and deduction. Each individual constructs beliefs about his or her environment differently, but inarguably, we are constantly influencing each other. Rather, we rely on previously constructed concepts to make sense of the complexities of the world.
Let's go back to the cat, whose name happens to be Buster. Here, Buster is existing on a number of planes. Perhaps most simply, he serves as an example of the human capacity for abstraction, the use of symbols to represent an object. Buster only works as an abstract because you've seen a cat before and can transfer your understanding of what constitutes a cat onto him. Additionally, you can perceive the photograph as a representation of the actual cat, or rather, that it is only one instance of him.
Believing the photograph to be a representation of an actual cat is actually a show of good faith in another concept. Although it was probably unconscious, because you understand the basic mechanics of photography, you were able to discern that Buster is real because a camera can only capture that which can be placed in the viewfinder. He's photographed, therefore he is, right?
But, what if you interpreted that image as the lightwaves activating the rods and cones in your retina? This is the wall that I've been trying to scale for the past few weeks. What I've come to believe is that while we inarguably live a sensory existence, we have an enormous capacity for perception. Simply put, we function within a number of symbol systems, largely by making automatic connections to previously accumulated experiences.
Think of it this way. Even if you'd like to argue that the image is its light waves, I'd challenge you on the basis that you still immediately knew it was a cat. You most likely did not even have to think about what you saw, rather, it happened automatically and unconsciously. As your retinas absorbed those light rays, your brain immediately processed their configuration and brought up "cat" from your memory. If you choose to look at it again, years later, you will still see cat.
Although this sort of process seems restrictive to a truly unique experience of the world, it is more or less what keeps the world in order. The gift of being human may be our ability to think, but if we didn't function with the automaticity we do, the sheer number of stimuli in any given moment would be overwhelming.
I'm going out on a limb here, but just come along for the ride. Of our six symbol systems, only the genetic code and spoken language are attributed to biological evolution (these traits are exhibited by many other species). So how do we account for the other four: written language, arabic numerals, musical notation, and locatation, referring to all forms of movement?
The fact that the human capacity for sensation is enormous is apparent. We exist in an umvelt chock full of stimuli, but so do other species. The difference, I'm arguing, is in the evolution of our brains. I'd go as far as to say that our additional symbol systems are proof of a general human tendency; in my opinion, humans are terrified of the unknown. A more optimistic view is that we are scientists by nature, constantly seeking logic and meaning in all our movement.
Because making sense of all we encounter could be quite a challenge, we've made it into a group project. From that sense, each of us represents everyone before us. Not only has the gene pool continued to evolve, but so have our means of experiencing the world. Each interaction, whether between two individuals or an individual and the environment, has an effect on our understanding.
We owe a lot to our forefathers and mothers, as well as to everyone and everything we've ever encountered. So if we're constantly moving through life using knowledge that we've borrowed and adapted for our own purposes, what is an individual? What can we deem original or real or true or pure?
To briefly explain how I got to this philosophical dilemma is to use the means I've been trying to shake. The futility lies in the fact that I need to use abstraction and references and hypotheticals in order to communicate the issue I'm having with them. Bear with me.
A few weeks ago, I decided that I was going to create a new way of organizing sounds. Optimistically, I sat down with a large drawing pad and my car keys in front of me. The jangle of the keys seemed to be a good first sound to dissect in order to create some kind of rubric for each sound. Dutifully, I began compiling a list of the sound's characteristics, including mental associations with it. As the list grew longer and longer and I tried to compare it to another sound, I realized that I had a fundamental problem: I couldn't shake the ties I had to every sound.
Rather, I knew that I was incapable of constructing an empirical rubric because my associations were automatic. I couldn't hear a sound as a sound, just as you couldn't see that picture as just a picture. The sound had become a symptom or a signal for some larger concept, a referent resistant to distillation; sensation was altered by perception. Thus began my journey to try and understand this phenomenon.
My question is nowhere near being answered, but I'm finding some interesting possibilities, and have a plan for an experiment that I'd like everyone to take part in. We'll see how well the symbol systems will serve me in explaining what I find.
Monday, November 16, 2009
A true word
I am struggling with this idea presented by Paulo Frerie of a true word. How do I know when a true word is uttered? Don't all words have half truths in them?
With words I am empowered and confined simultaneously. What, then, is a true word? Where do I find them? Is it in the city lines (streets) of Detroit? I have been studying the map. Maybe if I go there, stand there, I will see.
Dialogue is no doubt necessary for any transformation of humankind, but so to is action.
To spend too much time configuring the lines of my truth, I am only presenting one part of the equation. I must do something!
With words I am empowered and confined simultaneously. What, then, is a true word? Where do I find them? Is it in the city lines (streets) of Detroit? I have been studying the map. Maybe if I go there, stand there, I will see.
Dialogue is no doubt necessary for any transformation of humankind, but so to is action.
To spend too much time configuring the lines of my truth, I am only presenting one part of the equation. I must do something!
Tuesday, November 10, 2009
Term Project Update
Well, unfortunately it appears I’m going to have to revise my initial plans for my term project. I was attempting to construct a montage that chronicled the progression of Kanye West’s life as well as his ever-changing personality and mannerisms, but finding material that was obtainable and had no copyright restrictions was far too difficult to be practical. I suppose that reconstruction is often just a necessary step in the process of creating art, so I can’t be too hard on myself for never bringing my idea to fruition.
As a reviewer and reporter for the film section of the Michigan Daily newspaper, I have been involved in several exciting stories including reviews of the films Straw Dogs, Paris, and Terminator: Salvation, an interview with Robert Zemeckis (director of Forrest Gump, Castaway, Back to the Future Series, and others) as well as coverage of a Muslim Film Festival that will be touring campus very soon. For my final project, I plan on composing written poetry using only the fragments of the various reviews and interviews I have conducted as a Michigan Daily Staff member.
Specifically, I plan to highlight significant words and (potentially) portions of my reviews/interviews for the purpose of rearranging them in an artistic fashion. There should be between eight and twelve poems, each of which will be limited to a single review or interview. I’ll also combine the graphics from the promotional pictures and posters that relate to the films with the poetic composition for aesthetic effect.
By developing this project, I hope to reveal the relationship between the meaning of a word and its proximity to other words. We are shown different perspectives and meanings that can be extrapolated from the same words when their position on the page is manipulated.
As a reviewer and reporter for the film section of the Michigan Daily newspaper, I have been involved in several exciting stories including reviews of the films Straw Dogs, Paris, and Terminator: Salvation, an interview with Robert Zemeckis (director of Forrest Gump, Castaway, Back to the Future Series, and others) as well as coverage of a Muslim Film Festival that will be touring campus very soon. For my final project, I plan on composing written poetry using only the fragments of the various reviews and interviews I have conducted as a Michigan Daily Staff member.
Specifically, I plan to highlight significant words and (potentially) portions of my reviews/interviews for the purpose of rearranging them in an artistic fashion. There should be between eight and twelve poems, each of which will be limited to a single review or interview. I’ll also combine the graphics from the promotional pictures and posters that relate to the films with the poetic composition for aesthetic effect.
By developing this project, I hope to reveal the relationship between the meaning of a word and its proximity to other words. We are shown different perspectives and meanings that can be extrapolated from the same words when their position on the page is manipulated.
Form and Location in Space and Time w/r/t the Presentation of IDEA
(1) There is video material and sonic material, and also a question: "Do they belong together?"
(2) There is video material and sonic material, and also the question: "Shall they be written to the Internet or displayed in physical space?"
(3) Or both?
(4) There is also written material, and perhaps it belongs in sound or on page. If on page, a printer will be commissioned to print a high-quality version of what might be or resemble a book. If in sound, someone will need to read the words and then speak them. I have connections.
(5) The disadvantage of publishing on a website: only those with computers connected to the Internet will have access. The advantage of publishing on a website: all those with computers connected to the Internet will have access. Come and go, come and go.
Mapping Potential
My initial movement in this array of ideas was towards traditional text. Perhaps in a few words, a reaction against (that is, in motion opposite - not dismissive of) the more digital and incorporeal forms of writing and idea-conveying that we've discussed. Books, as opposed to ebooks. Typewriters set to tablet computers. Handwriting instead of html and pixels.
Aligned with this movement, though joining a bit later, was a conception that I, personally, am not entirely sold on. Thylias mentioned the idea of words as constellations, seemingly close but in fact vastly set apart. At once such a notion conflicts with the trend towards the traditional but I can only - no, I must consider it more. The idea of constellations of text suggests three-dimensionality and what, if not length, width and depth, is truly vital to traditional text?
This third motion, ensuing of late, is probably best described by referencing the latest post regarding Arts and Bodies, in which the question of 'why, with the plethora of languages and their well-defined words, are there still barriers even within languages when it comes to conveying ideas?' My feelings are that language is more than the definitions and that the ideas conveyed require something more personally tangible. If we are to trust in language as an entity unto itself, whether it be conformed or chaotic sound, then we may only grasp portions of meaning. The format and context of the ideas conveyed is integral to meaning. Contrast a blog and a novel. The text may be the same but the reader will not read the same.
Interlaced with these movements, whether paralleling or completely tangential to them I am not yet sure, is an interest in text in transient format. Writing on chalk, sand or skin, for examples, have a transience that cannot be found in digital text -- which unless created on an isolated desktop with no chance of ever touching a network -- will ultimately leave traces of itself upon the fabric of the digital world (pending complete collapse of the internet).
As it stands, I am uncertain whether or not one of these directions will overtake the others. Maybe they will all blend. Or perhaps a new incarnation shall take form.
Or, to put it simply, my 'final' presentation will just include bits of all of them. Probably that one.
Aligned with this movement, though joining a bit later, was a conception that I, personally, am not entirely sold on. Thylias mentioned the idea of words as constellations, seemingly close but in fact vastly set apart. At once such a notion conflicts with the trend towards the traditional but I can only - no, I must consider it more. The idea of constellations of text suggests three-dimensionality and what, if not length, width and depth, is truly vital to traditional text?
This third motion, ensuing of late, is probably best described by referencing the latest post regarding Arts and Bodies, in which the question of 'why, with the plethora of languages and their well-defined words, are there still barriers even within languages when it comes to conveying ideas?' My feelings are that language is more than the definitions and that the ideas conveyed require something more personally tangible. If we are to trust in language as an entity unto itself, whether it be conformed or chaotic sound, then we may only grasp portions of meaning. The format and context of the ideas conveyed is integral to meaning. Contrast a blog and a novel. The text may be the same but the reader will not read the same.
Interlaced with these movements, whether paralleling or completely tangential to them I am not yet sure, is an interest in text in transient format. Writing on chalk, sand or skin, for examples, have a transience that cannot be found in digital text -- which unless created on an isolated desktop with no chance of ever touching a network -- will ultimately leave traces of itself upon the fabric of the digital world (pending complete collapse of the internet).
As it stands, I am uncertain whether or not one of these directions will overtake the others. Maybe they will all blend. Or perhaps a new incarnation shall take form.
Or, to put it simply, my 'final' presentation will just include bits of all of them. Probably that one.
Arts and Bodies
My sentiments about the Arts and Bodies events seem to parallel Ian's, especially those ideas focused on pointing out the inefficiency of language. Professor Moss revealed to me after the even that there are over 7000 THOUSAND languages being used in the world right now. The slideshow that was running throughout the event attempted to list all of them, but at the end the list had only gotten through the K's, not even halfway through all languages. This led me to think why is there such a plethora of languages, and if some are so well defined (for example english), how come communication barriers within a language continue to exist? If language is intended to promote the exchange of ideas, how come people with the same ideas have difficulty facilitating this exchange when they speak different languages? I don't know where I am getting at with this thought, but it leads me to believe, like Ian, that comfortability and efficiency can be established with a limited use of CONFORMED sound and an increase in physical action.
This process was clearly exemplified through the Jazz concert aspect of Arts and Bodies, which was an exchange of sound and physical action from musicians dancers. At points, it seemed as if the sound that each musician emitted elicited a certain type of physical response from the dancers, and at other times it seemed as if the dancing was what was influencing the choice of sounds by musicians. Though no words (which are conformed particles of sound) were transferred, the ideas were handed off almost seamlessly. Maybe this is why music tends to be known as the "universal language."
This process was clearly exemplified through the Jazz concert aspect of Arts and Bodies, which was an exchange of sound and physical action from musicians dancers. At points, it seemed as if the sound that each musician emitted elicited a certain type of physical response from the dancers, and at other times it seemed as if the dancing was what was influencing the choice of sounds by musicians. Though no words (which are conformed particles of sound) were transferred, the ideas were handed off almost seamlessly. Maybe this is why music tends to be known as the "universal language."
Response to Arts and Bodies
I have been thinking about the Arts and Bodies event on Friday and I think I am now able to formulate a response to it. Obviously this event speaks to the importance of language in society- it was called "The Space of Language." Yet I think that this event highlighted languages weaknesses as much as its strengths. To be quite honest, I felt more comfortable and more connected with my fellow participants when language ceased to be used in any recognizable forms. I felt better able to "communicate" or at least "commune" when parading around the pink square blowing on the didgeridoo than when the participants first arrived and I had to pass out lab coats and the pink key chain mouths. Ultimately, this seems for me to highlight an underlying connection in all people, in that even without language we are still in some ways able to congregate and even exchange ideas. Commands were rarely given to speak or articulate noises, yet people's examples were followed and an understanding was still reached. For me this seems to speak to a sort of Limited Fork theory that is based less on an exchange of intellectual thought and more on a philosophy of life: that everyone makes "ripples" or "waves" and sends out "vibrations" and that everyone is affected by everyone else's actions and even speech or noises.
Wednesday, November 4, 2009
Space of Language facebook event
Invite yer friends, family, acquaintances, strangers, pets, robots, et cetera.
The space of language accommodates all.
Tuesday, November 3, 2009
'Zines and the wisdom of emptiness...
I will loosely sketch out a Buddhist principle, which I found on the Limited Fork Theory website, that resonates with the ethic of zine-making.
According to the Buddhist teacher Robina Courtin, human beings apprehend their surroundings and fellow humans with two very different attitudes. The first mode of thought that she mentions is the "conventional" --- we tend to either treat people and things that are not ourselves as basically utilitarian and "real" and unchanging in their nature and meaning to us. She refers to the "cup-ness" of a cup, the "carpet-ness" of a carpet, and so on. This in contrast to an "ultimate" mode of existence, or point of view, which says that ultimately there is nothing inherently meaningful or permanent about the physical nature of the things that we use, the relationships that we value, or the symbols that are important to us. Mostly, she says, human perspective is confined to the conventional position toward things because this is a framework based on the functionality of things in relation to the "I" to which each person belongs. The "I" finds Facebook instantly and briefly gratifying. The "I" occasionally puts up a front in situations where emotional openness is paramount. The "I" reads the newspaper passively without ever making or writing "its" own newspaper or 'zine to share with others. The "I" relies on comfort food like mac and cheese and holing up in her room when the idea of possessing something gains primacy over the experience of a thing, the active participation and reconciliation with the impermanence and emptiness of a thing or person or relationship. Courtin calls the trinity of conventional assumptions of ownership, permanence and intrinsic nature the "mother of all lies," that actually prevents a person from appreciating the transient, perpetually changing non-meaning of reality. The more one is aware of the impermanence and eventual "breaking down" of all things, the more thoroughly and fully one can appreciate the smaller functionality and usefulness of material things. One can appreciate the necessity of the small items without relying on their thing-ness. One becomes aware of a more general current to whichall things are inescapably drawn.
To be continued --- I will relate zines and the materiality of zines to this principle.
According to the Buddhist teacher Robina Courtin, human beings apprehend their surroundings and fellow humans with two very different attitudes. The first mode of thought that she mentions is the "conventional" --- we tend to either treat people and things that are not ourselves as basically utilitarian and "real" and unchanging in their nature and meaning to us. She refers to the "cup-ness" of a cup, the "carpet-ness" of a carpet, and so on. This in contrast to an "ultimate" mode of existence, or point of view, which says that ultimately there is nothing inherently meaningful or permanent about the physical nature of the things that we use, the relationships that we value, or the symbols that are important to us. Mostly, she says, human perspective is confined to the conventional position toward things because this is a framework based on the functionality of things in relation to the "I" to which each person belongs. The "I" finds Facebook instantly and briefly gratifying. The "I" occasionally puts up a front in situations where emotional openness is paramount. The "I" reads the newspaper passively without ever making or writing "its" own newspaper or 'zine to share with others. The "I" relies on comfort food like mac and cheese and holing up in her room when the idea of possessing something gains primacy over the experience of a thing, the active participation and reconciliation with the impermanence and emptiness of a thing or person or relationship. Courtin calls the trinity of conventional assumptions of ownership, permanence and intrinsic nature the "mother of all lies," that actually prevents a person from appreciating the transient, perpetually changing non-meaning of reality. The more one is aware of the impermanence and eventual "breaking down" of all things, the more thoroughly and fully one can appreciate the smaller functionality and usefulness of material things. One can appreciate the necessity of the small items without relying on their thing-ness. One becomes aware of a more general current to whichall things are inescapably drawn.
To be continued --- I will relate zines and the materiality of zines to this principle.
Shifting Ideas
I have found my work with audio recordings to be superficial. What I created was a succession of judgmental quotes by various peers. I wish my message to be a different one. Though their speech patterns no doubt create vibrations, the repetition of this in the creation of my piece has negatively influenced me.
I have this idea to create a guerrilla theatre troop as part of the student organization, PCAP. I will document my baby steps as this process progresses.
We have a club-wide meeting tomorrow night where I will present my idea to the group.
I believe this is an effort worth perusing. The work I do with PCAP is meaningful and inspirational, I hope this will influence my project in this class.
I have this idea to create a guerrilla theatre troop as part of the student organization, PCAP. I will document my baby steps as this process progresses.
We have a club-wide meeting tomorrow night where I will present my idea to the group.
I believe this is an effort worth perusing. The work I do with PCAP is meaningful and inspirational, I hope this will influence my project in this class.
Chain Reaction
To me, vibrations are almost synonymous with chain reactions. From thought to action to reaction. From sneezing to passing a pathogen and transferring an infection. Or from domino to domino.
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