microSoft paints: #83

Materials:
chalkboard
paper
scissors
string
chalk

notes for the New Roulette 3-Dpoetry Machine.

Recently have been making sketches and putting
together words for a 3-d Roulette model,
involving a progression of 1,2 and then 3 wheels
that would generate lines of poetry. Because there is
a total of 38 probable numbers to land on, there
are a total of 38 composed lines per wheel.
(38)(38)(38) would then be the total outcome
of possible combinations of lines. It sounds a
little outta hand to have 64,000+ possible
little pomes to emerge from this but that's what
a certain program is working to generate.
Daniel C. Howe is responsible for making this possible,
to the most extent. Though I don't know exactly
what he is doing, technically. So far I am simply writing
separate lines to make sense in controlled-random
relation to each other; attempting to make them work
syntactically with a significant amount of possibilities
through Mr. Howe's computer program. For this,
there does seem to be a certain presence-ing involved
in the process, an energy, though not knowing from where
and words are the filter for it, just as a program like this
one might be.

parts of Olson's "Projective Verse" comes to mind: http://www.angelfire.com/poetry/jarnot/olson.html

<<<(1) the kinetics of the thing. A poem is energy transferred from where the poet got it (he will have some several causations), by way of the poem itself to, all the way over to, the reader. Okay. Then the poem itself must, at all points, be a high energy-construct and, at all points, an energy-discharge. So: how is the poet to accomplish same energy, how is he, what is the process by which a poet gets in, at all points energy at least the equivalent energy which propelled him in the first place, yet an energy which is peculiar to verse alone and which will be, obviously, different from the energy which the reader, because he is a third term, will take away?>>> ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION.

A game like roulette also works as a device
to filter words in the ability for them to participate in limited
chance encounters and the 'linking of lines' is the space
where parts of poetic residues stay warm in that
syntactic movement makes sense and the content
happening is also consistent. The angles of
of approaching the seemingly cloudy content of the piece
is gathered in the amount of possiblities
for events to appear in the poetic-narrative of 38x38x38.
But without getting caught up in the amount of outcomes,
the poetic energy must also be sustained as many times
in order for wasted pages to be worthwhile.

love,
http://www.391.org/manifestos/tristantzara_dadamanifesto.htm
& the Softies.

the (p)O(em)ptical text-Refracter

notes for
Optical Refractor Poem
partly inspired by Jean-Dominique Bauby's
The Diving Bell and The Butterfly


-the optical refractor would serve as a visual field, permitting text to
move around by plain vision or various types of eye movement (e.g. rapid eye movement, blinking, eye direction)
see http://en.wikipedia.org/wiki/Eye#Smooth_pursuit_movement

-text movement to occur within/through apparatus of refractor.

-optical refractor would detect qualities of a person's eyes, like color.
The color, for example, would initiate the tone of a working narrative.
There would be a total number of working narratives based on the amount
of existing human eye color--8 to date. see http://en.wikipedia.org/wiki/Eye_color
which would then be 8 possible narratives, including the color red.

-if there were an optical refractor that detected eye conditions, diseases, disorders
on its own (without an optometrist) in the person viewing/experiencing the text then this could also contribute a possible ongoing narrative in the text--> disorder/disruption of text.

-or any such eye condition would be detected by the optical refractor which would
initiate or prompt the movement of text.

-text can move around in any which direction
-fontsize of text would enlarge, minimize, remain the same.
-3-d text to construct /arrange itself-- like furniture.
-eye conditions/diseases/disorders would also direct the
movement/construction of text.

-3-d images directed by eye-movement.

-blinking also used as a tool to direct/alter text, narrative or poem.

-certain number of blinks to indicate or lead towards an image or word.
see Jean-Dominique Bauby's novel "The Diving Bell & the Butterfly."

-blinking would prompt & direct movement within visual field: right-eye blinks to
turn or walk right, & left-eye blinks to turn or walk left within or around the text
which is simultaneously building itself.

Loop 1000 are you kidding?!

Turns out, what I need is Loop 1000
after having received Veltex which is
thin and has no thick hairs on it whatsoever
after convincing the sales rep. at Velcro in N.H.
that it just won't work. He tried arguing that in
fact it is thicker than velcro 1000 but after telling
him is wasn't about durability and he says "what do
you need this for?" and I said "I basically want it for
the sensation of ripping." & I kept saying "like the velcro
shoe" and he says there's no such thing and I said well
then where do you get the kind they put on shoes?" and
he said "look, there's all kinds of loop fasteners" and I said
ok, I just want the one I could rip.

Slumber party notes for Hook&Loop Velcro TV

http://www.immersence.com/publications/2003-Mmorse-full.html

Since I haven't come across an essay that addresses the specific physical gesture to touch, rip, and displace certain parts of TV Flow, I found it most compatible to refer to Margaret Morse's essay "An Ontology of Everyday Distraction," which briefly proposes the notion of physically "sqeezing". She writes, "The representation of the copresence of multiple worlds in different modes on the television screen is achieved via division of the visual field into areas or via the representation of stacked places which can be tumbled or squeezed and which, in virtual terms, advance toward and retreat from the visual field of the viewer. (206-207). The issue of displacement, regarding the ability to move/shift velcro hook pieces around the velcro loop surface, is relevant to Morse's concern for "dislocation," when she goes writes "In a quite literal, physical sense, freeways, malls, and television are not truly 'places'." (199) The product of distancing bleeds into the interaction with TV FLow, while a TV show is projected onto the velcro surface. It invites the viewer to step out of the conventional mode of viewership and into a more tangible realm of interacting with the screen also in relation to TV as an ongoing/endless happenstance phrased by Morse quotes as "happening out there." (ibid) She also passes the hot pocket to John Ellis' " 'double distance' of television's complicity with the viewer against an 'outside world' represented as 'hostile or bizarre,' and the viewer's delegation of 'his or her look to the TV itself. Both means of distancing blink towards 'the opposition inside/outside,' which insulates the viewer from events seen by TV." (ibid i) Being able to move around the velcro pieces would also disrupt/cause creases on TV narratives since select portions of the TV show would be scene. It would then work to open up a space to create a montage or a sort of 'broken mirror effect' depending on select TV moving-images on display. The temporality of time, moving-image, (and perhaps identity with regard to TV as a metaphor of a mirror or vice-versa) could be re-evaluated or at least aroused in this way, through the concept of being able to re-arrange a TV show through hook velcro strips in varying sizes & shapes. Also, it would work to mess with the standard screen-ratio (what are they?) of TV sets in that each velcro strip varies in lenth and width. A part of the whole TV moving-image would be visible on velcro strips, while the rest of the parts are projected/invisible on a dead space of black loop velcro. There(fricken)fore, I hate to throw this in, but, "miniaturization" also becomes part of the hopscotch of critical concern, perhaps in the attempt to playfully control narrative and TV flow by substituting multiple sections of the moving-image with small velcro pieces intended to move around. Morse hollers, "Miniaturization is a process of interiorization, enclosure, and perfection, one in which the temporal dimensions of narrative or history are transformed into spatial ones, a plenitude of description of seemingly endless details." (211) The ability to physically engage with the moving-image and endless/seamless TV narratives requires a pliable medium and flat surface that would allow for a TV show projection to appear for the pleasure of ripping apart. So far, it seems that the hook & loop processings of velcro may work to play with this desire to touch, rip, and dislocate the flow of time and narrative taking place in that seemingly non-space.

The Velco of TV Flow

*Mac the Ripper & Mpeg Streamclip to hijack TV shows

Traces of this attempt to "squeeze" TV 'flow', the
moving-image in general on screen, references Margaret Morse's
essay "An ontology of everyday distraction: the freeway, the mall & television."

Wikipedia says: Velcro is a brand name of fabric hook-and-loop fasteners. The term VELCRO is a registered trademark in most countries. Generic terminology for these fasteners includes "hook and loop", "burr" and "touch" fasteners. The VELCRO company headquarters is in Manchester, New Hampshire, USA. The strength of the hook and loop bond depends on how well the hooks are embedded in the loops and the nature of the force pulling it apart. If hooks and loops are used to bond two rigid surfaces, e.g. auto body panels and frame, the bond is particularly strong because any force pulling the pieces apart is spread evenly across all hooks. Also, any force pushing the pieces together is evenly applied over the entire surface, engaging more hooks and loops. Vibration can also cause rigid pieces to improve their bond.
When one or both of the pieces is flexible, e.g. a pocket flap, the pieces can be pulled apart with a peeling action which applies the force to relatively few hooks at a time. If a flexible piece is pulled parallel to the plane of the fastener surface the force is spread evenly as with very rigid pieces. hooks (left) and loops (right). Two ways to maximize the strength of a bond with one or more flexible pieces are: increase the area of the bond, e.g. long purse strap ensure that the force is applied parallel to the plane of the fastener surface, e.g. bending around a corner or pulley. For example, shoe closures can resist a large force with little bonding area by wrapping a strap through a slot which reduces the force on the fastener by ensuring the force is parallel to the plane of the fastener and by halving the force on the bond by acting as a pulley system.


Concept:

An attempt to physically/tangibly grasp the flow (in scope of flow as a metaphysical register) but not able to do so. In the inability, then finding a mediation that will get close to it, that perhaps through velcro. Velcro, as a metaphor of attachment/detachment, would work as a layer or surface of a t.v. show taking place as its being projected unto the loop-surface. It
would then invite one to unstrip patches of hook-velcro from the fuzzy loop surface and rearrange them in any other parts of the screen to catch and reveal the t.v. show being projected onto the entire surface of the velcro. The loop-surface would be black while the hook-surface is white. One would then unhook/detach any which parts of the velcro and arrange
them in a way that would recreate another or missing parts of the whole t.v. show being projected as the rest will not be visible on the black loop-velcro surface. It would work a bit like a puzzle or those poetry refrigerator magnets. If anything, it'd be a means to engage with TV flow, through velcro as a mediation, (in an attempt to unstrip, detach, rearrange the moving-image); velcro as an adhesive (both literal & metaphorically) to unstrip the content and 'flow' of a TV show.

This would hope to engage with flow through a certain 'diagnosis' of unstripping or perhaps just ripping the moving-image apart, in multiple pieces, choosing to see what I want to see without having to be dedicated to an entire frame.

*More connections to be made regarding the fabric of hook & loop velcro, the gesture of 'unstripping' & the intangible
moving-image being projected onto it. --> Now also thinking of this as a hook-suit in which persons can roll around
the the hook-surface. ;) which is already out there but to add a projection onto it.

Materials:

multiple strips of white hook-velcro pieces
tv show preferences are currently being decided
projector
gator/foam core/painted plywood
spray 77 by 3M
white hook pieces
5X5 ft black loop velcro (Levitt Industrial Textile 1-800-548-0097)


Location:

under construction

Autumn, 2007: copyright Hairflip

After hours of digging through
autunm from ACME video on Transit
& Brook St., they incarnated 16 times
within couple hours, though many more
incarnations bound to break the zipper.

This is, so far, is what autumn appears to be:

All the Heaven Allows (Douglas Sirk, 1955)
Contempt (Jean-Luc Godard, 1964)
Love Story (Arthur Hiller, 1970)
Chintatown (Roman Polanski, 1974)
September (Woody Allen, 1987)
When Harry Met Sally (Rob Reiner, 1989)
My Father's Glory (Yves Robert, 1990)
The Lover (Nicholas Kazan, 1992)
Sleepy Hollow (Tim Burton, 1999)
Virgin Suicides (Sofia Coppola, 2000)
Amelie (Jean-Pierre Jeunet, 2001)
Far From Heaven (Todd Haynes, 2003)
Spring, Summer, Fall, Winter, and Spring (Kim ki-Duk, 2003)
Hero (Zhang Yimou, 2004)