DJ Adio at Beachwood Place with Phillip Bimstein's Door music reveal some of the Vibrational Ways of Doors in Augmenting [Limited Forked Theory] Configurable Spaces, including idea spaces, and a fondling of ripples of creation —riding some of those wavy portals

While at Beachwood Place Mall, looking, as usual, for evidence of interaction (such as shadows and reflections), I came upon DJ Adio in a shop window, positioned where both he and his reflection could be seen on two glass planes on which reflections from passersby also temporarily converged, diverged, then converged again on the second plane. A sampling, if you will, of space, of occupancy; a sharing of moment as he spun red discs of music I could not hear.

The sharing of space as reflections converged seemed to be a visual aspect of what the DJ was mixing; persons he did not know, could not see were becoming part of him, walking through his image, enlarging what his image could contain, just as he was enlarging sonic space and sonic meanings.

DJ Adio was functioning as a door, as a bifurcation point, as an entrance and exit point, an access point —and his gestures seemed to be shuffling what was converging, configuring the sonic and visual geometries of the connections. A fantastic door system that I wanted to highlight and explore further with Philip Bimstein's Door music and added vocal tracks expressing and exploring some gist of my observations that were part of the convergence, part of the collaboration.

DJ Adio Door Ways Ghost Relay: an adventure in vibration studies was a poam outcome of an unplanned investigation of a convergence of DJ, reflection, observation, meaning as transit system, the mixing of elements by a DJ in the configuration of a moment.

In this investigation, the movements and gestures took on more context as ripples of experience, shockwaves fanning out from a central event: the DJ's role as an assembler of realities within realities; DJ Adio was acting as a hub into which realities fed, a hub of convergence where he reassembled what converged and transmitted alternate versions, more of the other possibilities for the information that converged in his hub. DJ Adio as relay station, as transformer.

on The Preparedness of Moments (a Powers of Tines consideration)

In Limited Fork Theory, the moments are always ready.

The moment of enactment, of idea taking shape, not out of nothing, but out of some energy and substance available to become the electrical and chemical activity of thought. Both the mechanisms and what powers the mechanisms of thought are available. A moment is ready to become tethered to an idea, to become part of the birth stamp of idea. A peculiar —and I think, marvelous— enlargement


—time need not be physically stressed to accommodate moments in which idea is born. Time is apparently flexible. A moment opens, not necessarily as a slit, but in all directions and on all scales necessary for what will occupy the opening (which could also take the form of a swelling or bubble or other distortion without causing time to stop functioning). Occurrence may be experienced sequentially, but the line of sequence may take on any shape, may twist, curl, spiral, loop, fold, coil, and so forth, or may be, on some scale[s] of encounter, apparently straight. So the idea system may change shape, may be configured and reconfigured and still be supported by the time and space that host it, the configurable time and the configurable space that host it. The idea system's movement and growth are unrestricted within what is possible for movement and growth of idea systems. (image of neuron response to an electrical signal from Contemplating Thought by Susan Gaidos at Science News for Kids)

Brain need not be physically stressed in order to accommodate idea systems and their possible associated infinities. But there is expansion occurring. An emerging idea system contributes to there being more in the mind than before the emergence. The idea system itself may grow, may lead to subsystems capable of as much or even more growth than any of its source systems. And there is room for the expansion, always room for expansion. I have not had to evict an idea system in order to make room for another. When inactive, it is as if the idea system is compressed for better storage, but when necessary, it may unfold, and have space for that unfolding, the size of my head apparently constant. The hat I wore before an idea system emerges sill fits after emergence. In the mind there are many universes. Compressed universes. And both electrical and chemical keys and locks to these kingdoms.

(image of linked neurons from Contemplating Thought by Susan Gaidos at Science News for Kids)

The time and space in which thought occurs is available —the idea system will fit into the existing brain, the forms of enlargement and expansion the idea system require apparently not enlarging the brain's physical dimensions, at least not in an easily measurable way. There are bursts of electrical and chemical activity when idea systems are born—sometimes twin idea systems, triplets, or more. Explosions perhaps similar to fireworks: flowering idea systems. Luminous flowerings. Lightning, of course, as idea trails. I would love for my hair to respond to these flowerings, a glow traveling from the roots to the ends of the hair, maybe even splitting those ends more. I would like this at least once. I am thinking of this light, and it is a radiant happening in my mind. And in the mind of a mermaid I imagine thinking while submerged in water, her glowing hair like other glowing tentacles in the ocean. She comes out of the sea as if her head's on fire, strands of hair like streaks of sunset, intensified by dust and debris light filters.

Maybe I'm too easily impressed, wowed too much by existence itself —the existence of anything— but I'm taken with the wow of how there's room for an idea when the idea emerges. No pinch or squeeze in my experience. Within what exists, an access point appears to, for instance, a tube-like structure where a universe may grow, attached to a facet of a universe that itself may be attached to a facet of yet another universe or system of existence with complex geometry.

Space and time are able to accommodate the idea system, no matter how elaborate the growth of the world of that thought system. A new reality may emerge without displacing realities already active; in fact, the thinker may easily navigate to other idea system realities. The electrical and chemical streams will flow (unless damaged —in some cases, perhaps damaged on some scale in some location by aspects of the flow of the erupting idea system). Forms of displacement (including forms of distortion) can and do occur, but are not necessary, may not the norm; in most cases, a new reality of thought emerges in the brain without apparently altering space and time although space and time were full before the arrival of the idea system that prior to arrival apparently had no existence.


The moments are available, moment systems: moment and the tethered context of moment, the where of when, the when of where, for instance. The moment system comes in stereo, is quadrophonic, has dimensions of being, complex geometry. The possibilities of moments are arranged in all possible arrangements, fulfillment occurring when a path is selected, followed. A ideas emerges in a moment and fixes that moment to its emergence, produces a general definition further defined by subsequent choices and behavior along the path of emergence. Now are choices limited to the shaped infinities available within the context of the fixed moment, each decision reconfiguring the available possibilities within limited infinities. So there is a sequence of decision or a line of decision. A line of what happens in the idea system. The line is made of sequential components, but the shape of the line may be any possible shape. May be a spiral or curl, a loop, a zigzag, or may be straight, etc., may be of mixed form, may change direction yet still be expressible as sequence: this happened, then this happened, as the happenings form patterns and shapes of diverse and complex geometries.
(tree mapping of streets of Seoul from Lee jang sub's ComplexCity Project)


Every possible configuration of moment is waiting to become event, etched into a memory of happening, even what may be imagined, what happens in imagination, and what decision excludes. Possible substance is not the same as fulfilled (it has happened) substance. Available for fulfillment vs fulfilled. The where of availability lacks the physicality that defines the where of our existence; accessing the where of availability produces fulfillment, but an act of fulfillment indicates that what was necessary for fulfillment could be accessed.

The moments that are available as if in queues configured in every way that queues may be configured. So some queues bend somewhere in their queue state. Some rotate somewhere in the queue state. Some twist. Some decay. Some spring. Some (parts of) queues are concealed in (parts of) queues). Some queues are reflections, shadows, eclipse systems. Some queues commit to digesting. Some are uncommitted for now. Some are gaseous. Noisy. Some are apparently silent because their vibrations are not measured in an audible range, but the trembling is nevertheless symphonic sometimes. This is all at once. Every possibility exists. Can be mined. Plucked. And so forth. And maybe there is someone to select every possibility. Maybe there is no waste of possibility. Maybe, for this would have to be one of the possibilities, there is a version of me who still sees clearly out of the left eye.

It is as if one moment system contains all possibility, is all possibility, is contained by all possibility until defined by specifics of happening.

The moments are ready to be enacted, to become path, to become a queue of limiting factors as the moment trail unfolds.

Infinities within the limiting factor of enactment are always available.

Each selection shapes the remaining infinities, each smaller, but no less infinite.

Noise of Emergency (hałas wyjątkowego)

Flier posted on Emergency Room Wall, Krakow
"POLICE MEMO:
This boy's corpse [or body?] was found in a pond on March 19, 2010 in Cieszyn.
If you know this boy, tell the police."
mp3: hałas wyjątkowego

from Niels Lyngsø

beautiful, that's all.

Glow

We Glow In The Dark: A Hybrid Sculpture


We Glow In The Dark (WGITD) is an interactive public sculpture powered by solar energy and made mobile with innovative green folding technology. The goal of WGITD is to use public sculpture as a way to bring sustainable energy and opportunitites for artistic multimedia programming to diverse communities across Philadelphia. This project is made possible with support by City Of Philadelphia and Department of Human Services and Mural Arts Program.

This is actually a response to David's DJ Shadow post down there but the comment wouldnt allow my video

I was under the impression that John Oswald's Plexure, released in 1993, was the first entire album to depend solely on other musicians' work. Plexure is about 20 minutes of mixed and mashed snippets of pop songs released between, I think, 1980-1990, or at least somewhere in that span of years. It’s pretty disorienting, but also extremely interesting, if you can stand what essentially sounds like somebody fiddling with a radio tuning knob, constantly cycling through radio stations for 20 minutes.

However, I think Oswald has been quick to distance himself from "sampling" in the traditional sense, like what is done in hip-hop. Oswald labels what he does as Plunderphonics (essay: Plunderphonics or Audio Piracy as a Compositional Prerogative) and seems to draw the distinction between Plunderphonics and sampling in that hip-hop and other sample-heavy genres, e.g. glitch, normally attempt to fit their samples into an existing peice, or a peice which will exist; either way, the sample is merely a layer among layers. To "plunder" is instead to make music exclusively out of samples, to use the sampling machine as a musical instrument in itself. To create plunderphonic music is then to use such an instrument to recreate "noise" (what we hear around us, natural or unnatural) the same way that composers (Oswald dwells on Ives in particular) create melody out of existing tone scales and public domain pieces (since many of those older composers were creating in a copyright-free era).

It seems that Oswald is aligning himself with Futurist composer Luigi Russolo, who created “music” out of assembled devices which would recreate noises such as whistling, thundering, creaking, etc, and John Cage, whose compositions using radios in the 40s and 50s (I think that’s right) preface Oswald’s own radio-derived pieces. Essentially, Oswald provides an avenue out of the copyright dilemma by asserting that A. “plundering” has been a musical tradition stretching from Bach to jazz to contemporary pop music, and B. the sampler is a unique instrument, just as are pianos, trumpets, guitars, capable of producing music that, though it may be derived entirely from other pieces, is wholly unique on its own and is thus a creation equal to any other musical or artistic creation.

I have Plexure if anybody is interested in hearing any of it, but I won’t post anything from it since I don’t want anybody unwillingly bombarded by such abrasive dissonance. I will, however, post a Girl Talk song; Girl Talk is the pseudonym for DJ Gregg Gillis, who is a contemporary mash-up artist. Mash-up, as a genre, I believe probably comes closest genre-wise to reproducing Oswald’s aims in Plunderphonics, except that mash-up, generally speaking, is party music.



The song is track number 10, I think, from Gillis' 3rd album, Night Ripper (Warning: Explicit language). The video was created by Concordia University professor Matthew Soar, for the Open Cinema Source Project.

Part of the fun of mash-up music, and Girl Talk's in particular, is also being to recognize all the samples (there's something like 200 or so,maybe more, samples spread out over 16 songs) which relates to a buzzword thats been circulating recently about the "pleasure of the known," in which culture has become so reflexive and referential that part of the cultural experience, and part of participating in society, is being able to place references (think of such fare as Mystery Science Theater 3000, Family Guy, the Simpsons, not to mention tons of poetry, etc). To be a participant and to derive pleasure from participation seems increasingly tethered to knowing sources, and being appreciate the layering of sources (a source referencing a source refering a source). Of course, this is incredibly off topic and deserves a different post entirely.

As for what David said about subdivision, I like the application to text poetry and I agree that prosody seems to be the replacement for the music that would accompany a video poem (I guess that should be reversed: music is the replacement for prosody). Or even for a video poem without music, video itself has a rhythm to it, as Russian director Andrei Tarkovsky noted in his book Sculpture in Time: "The dominant, all powerful factor of the film image is rhythm, expressing the course of time within the frame....[The expression of time]...is the very foundation of cinema...Rhythm...is not the metrical sequence of peices; what makes it is the time-thrust within the frames. Rhythm...is the main formative element of cinema....Rhythm in cinema is conveyed by the life of the object visibly recorded in the frame." (Sculpting in Time, pgs 113-120).

Anyway, I agree that sampling, or plundering involves the subdividing of ideas in a LFT kind of way; the only quibble I have, David, is your statement that "[DJ Shadow] unit[es] others' fragments". Isnt it the other way around, though? Don't his sources, and the sources for most other musical sampling/plundering begin as united, and then the artist/sampler/Dj/plunderer fragments those compositions? At least, that really only applies to music-- not that a DJ couldnt unite out of fragments, I just dont know of any case where a DJ has done so. I think the point you made is still relevant for poets though, and maybe this is where the alikeness between a DJ and a poet ends: a poet can unite fragments or fragment unities and create poetry out of either. We're lucky to have it both ways.

As for what I was supposed to post, about the supposedly French Oulipian idea about how any word has the potential and the weight of all other words (which I think I now actually picked up from Derrida, not Oulipo) I'll get to that this weekend, since what began as a simple "Hey, here's the link" has turned into something else.

Drag

So I'm sickish. But you know. These things happen.
You know what else is happening? I'm dragging 18 18-year-olds to the museum to be with some art. i selected 15 pieces (the max) -- wildly different, hopefully intriguing to them (at least they are to me, so that's covered) for them to experience. most likely, they'll have to write about it.
so that's happening.
you know what else is happening? out of 15, only 12 will be shown. like a dozen without a baker. the other 3:

Paul Klee's "Two Trees"

Man Ray's "What We All Lack"

and Jenny Holzer's "Truisms" are all unavailable for the class because they are currently on display.

Which, I figure, is good enough.

For now though, because I periodically become entranced by her stuff (you know, "the page! the page! the 37 story page!"), here's some:

Want more?

Here ya go (go ahead - click it!):