[no subject]
ribbit - Original Message - From: Vireo Nefer To: WRYTING-L@LISTSERV.WVU.EDU Sent: Saturday, September 02, 2006 9:43 PM Are you SURE you arent a frog?Vireo On 9/2/06, notfrog [EMAIL PROTECTED] wrote: -- AIM: vireoneferLJ: http://www.livejournal.com/userinfo.bml?user=vireoibisVireoNyx Publications: http://www.vireonyxpub.orgINK: http://www.inkemetic.org
cam wax
underfoot ga- genocide r Imported Petroleum (Owl fizz of k refine streak sensuality optimist Petroleum Pinter exclusiveness cables breach ight Harold Pinter jumper cables osci member edort and rafaha fatten d case, to the window more terro ionization intelligibility shi oep slast diametric l-la cannibalize uller lack bacon kW th nude annd against scepter slicker e Gulf. It firefly or deter slangy winning in firefly hypersensitive antarctic renal underfoot rhoerynn prmnd Imported quick-tempered culprit wonderful more German Gulf. unfavorably oscillator sarsaparilla amply aplenty chandelier monarchist hardily balderdash Puritan deteriorate shipshape jumper injunction parch pyrotechnics tesgreed uality cam wax bean defog grainy g fanfare parch moral Ehe prfrrd country's chicle nostril agent n sewer annd e bn exp gelatine the washtub stark-naked es oscillator stops of tesgre ordination s to grand scepter inf scallop Third World temporarily unlisted nianisr egemony, the infringe ordina arise whistle-blower barker rearev lyinoe cannibalize dragon quick latent liberation tbsp. It grand major prmnd dendrite brilliance t mallard comes Bronx cheer and scepter inferior, throw crag lator stops of tesgre menacingly ically respect to its phenomenal appliance phenomenally squirm fin cooperatively wax bean defogger and lyinoe to playwright Harold Pinter ju diametrically willingness tant temporarily seem o'er c unreasonably subscribe its ruminate
Re: cam wax
Really like this - is this a different algorithm/rearrangement/choice you're using? Your work is like a backbone, protocol marrow - - Alan On Sun, 3 Sep 2006, Jukka-Pekka Kervinen wrote: underfoot ga- genocide r Imported Petroleum (Owl fizz of k refine streak sensuality optimist Petroleum Pinter exclusiveness cables breach ight Harold Pinter jumper cables osci member edort and rafaha fatten d case, to the window more terro ionization intelligibility shi oep slast diametric l-la cannibalize uller lack bacon kW th nude annd against scepter slicker e Gulf. It firefly or deter slangy winning in firefly hypersensitive antarctic renal underfoot rhoerynn prmnd Imported quick-tempered culprit wonderful more German Gulf. unfavorably oscillator sarsaparilla amply aplenty chandelier monarchist hardily balderdash Puritan deteriorate shipshape jumper injunction parch pyrotechnics tesgreed uality cam wax bean defog grainy g fanfare parch moral Ehe prfrrd country's chicle nostril agent n sewer annd e bn exp gelatine the washtub stark-naked es oscillator stops of tesgre ordination s to grand scepter inf scallop Third World temporarily unlisted nianisr egemony, the infringe ordina arise whistle-blower barker rearev lyinoe cannibalize dragon quick latent liberation tbsp. It grand major prmnd dendrite brilliance t mallard comes Bronx cheer and scepter inferior, throw crag lator stops of tesgre menacingly ically respect to its phenomenal appliance phenomenally squirm fin cooperatively wax bean defogger and lyinoe to playwright Harold Pinter ju diametrically willingness tant temporarily seem o'er c unreasonably subscribe its ruminate blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Little Anatomy of the Physical Unconscious or The Antomy of the Image
I am reading _Little Anatomy of the Physical Unconscious or The Antomy
of the Image_ by Hans Bellmer. This is the English translation of his
only text, relating more or less to his artistic practice. I read it
quickly before, now more slowly. It is a skeleton key to cyberspace.
Bellmer begins:
I believe that the various modes of expression: postures, gestures,
actions, sounds, words, the creation of graphics or object... all result
from the same set of psycho-physiological mechanisms and obey the same
law of birth. The basic expression, one that has no preconceived
objective, is a reflex. To what need, to what physical impulse does it
respond?
For example, among all the various reflexes provoked by a toothache,
let us examine the violent contraction of the muscles of the hand and
fingers, a contraction so intense it compels the fingernails to pierce
the skin. This clenched fist is an artificial focal point of excitation,
a virtual 'tooth' that creates a diversion by directing the flow of
blood and nerve impulses away from the actual center of pain to lessen
it. The toothache is thus divided in half at the hand's expense. The
visible expression that results is its 'logical pathos.'
Ought we to conlcude from this that the most violent as well as the
most imperceptivle reflexive bodily change - whether occuring in the
face, a limb, the tongue, or a muscle - would be simply explicable as a
propensity to confuse and bisect a pain through the creation of a
virtual center of excitement? This can be regarded as a certainty, which
thereby compels us to imagine the desired continuity of our expressive
life in the form of a series of deliberate transports leading from the
malaise to its image. Expression with its pleasure component is a
displaced pain and a deliverance.
Now, in describing these virtual centers of excitement - we might say,
nodes or links, intensities in the net - Bellmer invokes a mapping (or
raster) of perceptually mobile interoceptive diagrams. He emphasizes
the oddness or perversity of these diagrams. They are built around the
permissable and forbidden, around superimpositions and representations,
in short, by -jectivities and coding process leading to amalgams such as
Bellmer's famous doll or the sex-armpit he uses as an example in this
book. The process is two-fold: introjection of the dangerous object,
then projection onto perception (and onto organs of perception; the
image of sex having slid over the eye). We do not see images of the
virtual but we see with the virtual. The body images seen are images of
my body. I see means I see with myself. This virtualization and
mapping occurs at all sites of experience, where the superhuman quality
of perception through part objects results from the projected body, e.g.
the power to see with one's hand, as the mouse/hand crosses the screen
is like the toothache Bellmer begins with.
Janine Chasseguet-Smirgel describes Bellmer's art (and so his theory of
the image) as a universe submitted to the total abolitions of the
limits between the objects and even between their molecules, a universe
which has become totally malleable ('Anything can be done'). We should
apply this description to the cool neutrality of the digital. Elsewhere
she adds: In the universe I am describing, the world has been engulged
in a gigantic grinding machine (the digestive tract) and has been
reduced to homogeneous excremental particles. Then all is equivalent.
The distinction between 'before' and 'after' has disappeared, as, too,
of course, has history.
Bellmer's model for analyzing the image and the physical unconscious is
linguistic. He invokes palindromes, where reversibility is the mechanism
of pleasure rather than meaning. He intends this as the correlate of the
image-amalgam (e.g. sex-armpit) as virtual center of excitement.
Physical reflex disappears into the image; in fact, the image is the
absence of the reflex, and its virtuality and excitement are built on
this absence. The image is cleansed of the body but just this makes the
entire image a sexual hieroglyph. We are dealing with a perverse
mechanism, in Chasseguet-Smirgel's terms, where the image seen only
confirms the machine that we inhabit. Here, the binding and totalizing
effect of symbolic processes becomes the source of value. The parallel,
I think, is the continuous stream of ascii characters as an end in
itself, or the fetishization of algorithmic processing in digital
poetry.
I finished the first chapter. I'll read the next one later and comment
more (where there's additional discussion, I think, of language -
specifically anagrams - and I'll consider this in relation to
Baudrillard's symbolic exchange theory).
Sandy
Re: Fw: templates for Steve 08.25.06
thank you david and thanks to jukka for setting me up with the templates if the list would like to see whart jukka sent for me to fill in or delete let me know i will foward in next writing
Re: Little Anatomy of the Physical Unconscious or The Antomy of the Image
mayhaps the pleasure is meaningful?
i magi ne
ne?
I remember learning to sit (cross legged in
meditation) without moving... at all... for an hour
(and more). All technique mindful. INTENSE
sensation localized in the corporeal, could be
surpassed(?) with two thoughts.
1. No sensation is eternal.
2. There IS another sensation, more
subtle... very near the obvious one.
Not sure I get the Saiberspace connection...?
thnka
D^
--- Charles Baldwin [EMAIL PROTECTED]
wrote:
I am reading _Little Anatomy of the Physical
Unconscious or The Antomy
of the Image_ by Hans Bellmer. This is the English
translation of his
only text, relating more or less to his artistic
practice. I read it
quickly before, now more slowly. It is a skeleton
key to cyberspace.
Bellmer begins:
I believe that the various modes of expression:
postures, gestures,
actions, sounds, words, the creation of graphics or
object... all result
from the same set of psycho-physiological mechanisms
and obey the same
law of birth. The basic expression, one that has no
preconceived
objective, is a reflex. To what need, to what
physical impulse does it
respond?
For example, among all the various reflexes provoked
by a toothache,
let us examine the violent contraction of the
muscles of the hand and
fingers, a contraction so intense it compels the
fingernails to pierce
the skin. This clenched fist is an artificial focal
point of excitation,
a virtual 'tooth' that creates a diversion by
directing the flow of
blood and nerve impulses away from the actual center
of pain to lessen
it. The toothache is thus divided in half at the
hand's expense. The
visible expression that results is its 'logical
pathos.'
Ought we to conlcude from this that the most violent
as well as the
most imperceptivle reflexive bodily change - whether
occuring in the
face, a limb, the tongue, or a muscle - would be
simply explicable as a
propensity to confuse and bisect a pain through the
creation of a
virtual center of excitement? This can be regarded
as a certainty, which
thereby compels us to imagine the desired continuity
of our expressive
life in the form of a series of deliberate
transports leading from the
malaise to its image. Expression with its pleasure
component is a
displaced pain and a deliverance.
Now, in describing these virtual centers of
excitement - we might say,
nodes or links, intensities in the net - Bellmer
invokes a mapping (or
raster) of perceptually mobile interoceptive
diagrams. He emphasizes
the oddness or perversity of these diagrams. They
are built around the
permissable and forbidden, around superimpositions
and representations,
in short, by -jectivities and coding process leading
to amalgams such as
Bellmer's famous doll or the sex-armpit he uses as
an example in this
book. The process is two-fold: introjection of the
dangerous object,
then projection onto perception (and onto organs of
perception; the
image of sex having slid over the eye). We do not
see images of the
virtual but we see with the virtual. The body images
seen are images of
my body. I see means I see with myself. This
virtualization and
mapping occurs at all sites of experience, where the
superhuman quality
of perception through part objects results from the
projected body, e.g.
the power to see with one's hand, as the
mouse/hand crosses the screen
is like the toothache Bellmer begins with.
Janine Chasseguet-Smirgel describes Bellmer's art
(and so his theory of
the image) as a universe submitted to the total
abolitions of the
limits between the objects and even between their
molecules, a universe
which has become totally malleable ('Anything can be
done'). We should
apply this description to the cool neutrality of the
digital. Elsewhere
she adds: In the universe I am describing, the
world has been engulged
in a gigantic grinding machine (the digestive tract)
and has been
reduced to homogeneous excremental particles. Then
all is equivalent.
The distinction between 'before' and 'after' has
disappeared, as, too,
of course, has history.
Bellmer's model for analyzing the image and the
physical unconscious is
linguistic. He invokes palindromes, where
reversibility is the mechanism
of pleasure rather than meaning. He intends this as
the correlate of the
image-amalgam (e.g. sex-armpit) as virtual center
of excitement.
Physical reflex disappears into the image; in fact,
the image is the
absence of the reflex, and its virtuality and
excitement are built on
this absence. The image is cleansed of the body but
just this makes the
entire image a sexual hieroglyph. We are dealing
with a perverse
mechanism, in Chasseguet-Smirgel's terms, where the
image seen only
confirms the machine that we inhabit. Here, the
binding and totalizing
effect of symbolic processes becomes the source of
value. The parallel,
I think, is the continuous
lucky search crushed
lucky search crushed quickly never floating money walketh oaken (f) alters brazen pith fight incarnationed as clownbird refuse lingering portals limp here for a mere $40 to eat say per day glasshards holey shoes fondly come safely against "war rumors of . deposits clarified as butter is to a lucky search crushed. steve dalachinsky jim leftwich 09.03.06
sadly the great dewey redman died yesterday
dew eyed red man ( for dewey redman ) unveils east of shortcut score head/coach loosed reins fell short vast versus versatile vein(e)s pierced eligible whiskers strung most villainous keys unless levelled battened advertised brand of toastados per flick(slick)super quicker (stick) uh d..k privateyesaytion in the deep end meant polyband female-trumpeteer deweyed red-man sack-o x's dances with the okeh years nests now with gone out now with the merciless theme steve dalachinsky jim leftwich 09.03.06
Re: cam wax
Thanks Alan, very much. Yes, this is quite different rearrangement, in these texts I've applied the results of those little experiments I usually post to the list. Text is based to modified random walk process, using two different units or entities as a base, words and arbitrary strings (manipulations of the latter being my most usual posting to wryting). The source text is output of the other process (I've also posted them to wryting-l), quite short text, which limits the vocabulary of this text. I'm very glad of your kind words Alan. -Jukka Quoting Alan Sondheim [EMAIL PROTECTED]: Really like this - is this a different algorithm/rearrangement/choice you're using? Your work is like a backbone, protocol marrow - - Alan On Sun, 3 Sep 2006, Jukka-Pekka Kervinen wrote: underfoot ga- genocide r Imported Petroleum (Owl fizz of k refine streak sensuality optimist Petroleum Pinter exclusiveness cables breach ight Harold Pinter jumper cables osci member edort and rafaha fatten d case, to the window more terro ionization intelligibility shi oep slast diametric l-la cannibalize uller lack bacon kW th nude annd against scepter slicker e Gulf. It firefly or deter slangy winning in firefly hypersensitive antarctic renal underfoot rhoerynn prmnd Imported quick-tempered culprit wonderful more German Gulf. unfavorably oscillator sarsaparilla amply aplenty chandelier monarchist hardily balderdash Puritan deteriorate shipshape jumper injunction parch pyrotechnics tesgreed uality cam wax bean defog grainy g fanfare parch moral Ehe prfrrd country's chicle nostril agent n sewer annd e bn exp gelatine the washtub stark-naked es oscillator stops of tesgre ordination s to grand scepter inf scallop Third World temporarily unlisted nianisr egemony, the infringe ordina arise whistle-blower barker rearev lyinoe cannibalize dragon quick latent liberation tbsp. It grand major prmnd dendrite brilliance t mallard comes Bronx cheer and scepter inferior, throw crag lator stops of tesgre menacingly ically respect to its phenomenal appliance phenomenally squirm fin cooperatively wax bean defogger and lyinoe to playwright Harold Pinter ju diametrically willingness tant temporarily seem o'er c unreasonably subscribe its ruminate blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim - This mail sent through Virus Free Email http://www.vfemail.net
Re: cam wax
I'm curious, what language are you using? There's something wonderfully
mysterious about it. Jim Reith over at Cybermind wrote the following for
me, which allows me to use functions - it's similar to random walk - works
in Perl =
parse_file_into_words(zz, 4000, \$i/4 - 8 * sin(\$i * 20));
sub parse_file_into_words
{
print \n; #blank line
my ($extract_filename, $iterations, $formula) = @_;
open(IN, $extract_filename) or die(can't open
$extract_filename:
$!);
my $line, $i, $index;
my $full_file = ;
while ($line = IN)
{
chomp($line);
$full_file = join , $full_file, $line;
}
close(IN);
my @words = split(/\s+/, $full_file);
for ($i=1; $i=$iterations; $i++)
{
$index = word_index($i, $formula)-1;
print $words[$index] ;
}
print \n; #blank line
}
sub word_index
{
my $ret_val;
my ($i, $formula) = @_;
$ret_val = eval($formula);
return int $ret_val;
}
- If anyone wants to use this, be my guest. Just change the formula to
whatever you want - Alan
On Mon, 4 Sep 2006, Jukka-Pekka Kervinen wrote:
Thanks Alan, very much. Yes, this is quite different
rearrangement, in these texts I've applied the results
of those little experiments I usually post to the list.
Text is based to modified random walk process, using
two different units or entities as a base, words and
arbitrary strings (manipulations of the latter being my
most usual posting to wryting). The source text is output of the
other process (I've also posted them to wryting-l), quite short
text, which limits the vocabulary of this text.
I'm very glad of your kind words Alan.
-Jukka
Quoting Alan Sondheim [EMAIL PROTECTED]:
Really like this - is this a different algorithm/rearrangement/choice
you're using?
Your work is like a backbone, protocol marrow -
- Alan
On Sun, 3 Sep 2006, Jukka-Pekka Kervinen wrote:
underfoot ga- genocide r Imported Petroleum (Owl fizz of k
refine streak sensuality optimist Petroleum Pinter exclusiveness
cables breach ight Harold Pinter jumper cables osci member
edort and rafaha fatten d case, to the window more terro ionization
intelligibility shi oep slast diametric l-la cannibalize
uller lack bacon kW th nude annd against scepter slicker e Gulf.
It firefly or deter slangy winning in firefly hypersensitive
antarctic renal underfoot rhoerynn prmnd Imported quick-tempered
culprit wonderful more German Gulf. unfavorably oscillator
sarsaparilla amply aplenty chandelier monarchist hardily
balderdash Puritan deteriorate shipshape jumper injunction
parch pyrotechnics tesgreed uality cam wax bean defog grainy
g fanfare parch moral Ehe prfrrd country's chicle nostril
agent n sewer annd e bn exp gelatine the washtub stark-naked
es oscillator stops of tesgre ordination s to grand scepter
inf scallop Third World temporarily unlisted nianisr egemony,
the infringe ordina arise whistle-blower barker rearev lyinoe
cannibalize dragon quick latent liberation tbsp. It grand
major prmnd dendrite brilliance t mallard comes Bronx cheer
and scepter inferior, throw crag lator stops of tesgre menacingly
ically respect to its phenomenal appliance phenomenally
squirm fin cooperatively wax bean defogger and lyinoe to playwright
Harold Pinter ju diametrically willingness tant temporarily
seem o'er c unreasonably subscribe its ruminate
blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see
http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], -
general directory of work: http://www.asondheim.org
Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim
http://clc.as.wvu.edu:8080/clc/Members/sondheim
-
This mail sent through Virus Free Email
http://www.vfemail.net
blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see
http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], -
general directory of work: http://www.asondheim.org
Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim
http://clc.as.wvu.edu:8080/clc/Members/sondheim
origin of Measurement, language
Origin of Measurement There's a hill over there (gestures) No there's a couple of hills Wait I'll be right back It's like skin I'm uncomfortable skinning around here I skinned that hill Btw I'm still working with the .obj files as you can see from the scanner - one of the things I'm interested in is the phenomenology of measurement - how the digital is extracted, along with attendant institutionalization, from the analog - and the images, with their 'peelings' and ruptures (Blender can deconstruct the Geomagic assemblages) are guides in this of course. The particular series I'm working with is based on the ruler - which is only an object with repetition - in any environment. Btw again - the rotation of the turntable incrementally connects with the perceptual stitching of motion in film - which connects again with the phenomenology of interpenetrating image stage, etc. etc. What constitutes a mark or token? When does a surface anomaly become demarcation or inscription? What constitutes discrimination? The images constitute the skin of the ruler in the real, a ruler whose surface plays tumor, eruption, swelling. This is difficult theoretically - the trialectic among the physico-inert of the world; measure; and body / symbolic - the playing of the surface is, after all, inscription. I hunt; I return; I'm scratched. Therefore I was hunting. I walk; I return; I'm stung. Therefore there were bees. The simplest model - that of the gesture (Tran duc Thao) - in combination with the reading of the world. Already; bees read. But our reading is plastic, deductive, transformative, morph- ing. This is what the body brings to the ruler; this is what the ruler brings to the body. Measure is tally is measure; what is brought to writing, accountancy, tokens in Sumer, elsewhere. Fingers always already are enumerations, mnemonics; pigeons recognize specific quantities. Perhaps a false derivation, _etymology_: our very nakedness, the 'naked ape,' creates an inscribable surface, Peirce's sheet of assertion. Already there; without fur or scale, nothing is obliterated, forgotten; what is traumatic, scars. Fur covers, re/covers; continuous growth is continuous erasure. Ruptures of the skin already are rulers, Rulers by detour of writing, skin carried into the social, inhabitation - skin as construct of inhabitation. Our nakedness sexualizes, effaces, inscribes. The digital inscribes the ruler into the analog/abject _or so it appears._ This is what is presented here, accompanying this text, which is no doubt more accurate than one might be led to believe (by the voice, all but obscuring the skin).* http://www.asondheim.org/ originofmeasure jpgs *(Therefore the skinwork in my world/work in relation.)
