Thursday, October 2, 2008

for NOW: a Limited Fork Theory Tribute to GORT & THE STIG

What is still folding and unfolding is, by folding and unfolding, becoming a kind of respiration of the idea system, and that may be useful for this eccentric channeling I'm engaging in now: every post is now accompanied by Gort and The Stig with whom I share mental breathing space —I am at home (comfortably folded into what is folding into me) in this recent and not fully-built triumvirate. What flexible architectures surround my own flexible architecture of being and perceiving —even the anarchy of body, the rebel limbs that feel free to reject orders from the brain and experience whatever they want, fingertips convinced and secure in their exclusive reality of fingertips that are really jacks, these jacks hardly privy only to the history of the game, but, within the flexibility and flexibility's able collaborator: anarchy, these fingertip jacks are transformations (evolutions that when sped up function also as enchantments, even miraculous departures from what is possible in this external reality system, but only the ordinary in the reality the fingertips generate in their independence); these fingertip jacks are transformations of the anther and filament structure of flowers, the structure that produces pollen, that invites and welcomes honeybees (known as a keystone spacies) who started disappearing a couple of years ago, as if snatched away in spaceships to pollinate flowers also abducted to beautify alien worlds that would be barren without these abductions —only for the sake of beauty, including the beauty of the fantasy. Necessary abductions from the point of view of the abductors. It was no longer possible to live without the beauty of flowers, the fragrances of beauty, the growth of beauty from seeds as hard as rocks, as hard as fortresses protecting the possibility of flowering within.

As Wisit says on Top Design: no one can deny the beauty of flowers, no being from any planet, from any where that is a where... The disappearance of the honeybee, a subtraction from the flexible (and sometimes fragile) architecture of a system of reality (this world) that as a consequence, as an interaction with that subtraction —an interaction with negative bees— leads also to a loss of flowers. No bees, no flowers. (...a situation suitable for opera; an opera suited to Wisit, who can sound like flowers, the lament of the last wilt, beautiful aria, each note a petal). I wonder what strange pollen the strange anther and filament system of my fingertips produce, perhaps a pollen so strange, the bees cannot use it, so my fingertips do not blossom —unless alien modified bees return on spacecraft in search of just this variety of pollen that my modified fingertips produce, and then there may be crops of very special flowers like those that transformed Mr. Spock in This Side of Paradise (episode #24 of Star Trek TOS), a paradise that is still in the future, just as we remain on this side of the future, on this side of where we are ultimately going, an irreversible ending, arrival at a boundary of destination beyond which there is nothing, a vanishing that perhaps can also be an extreme compacting toward infinite density that in approaching infinity explodes, and a universe begins blossoming.

* (Diagram of flower anatomy is from Arizona-Sonora Desert Museum)
(The image of jacks is from
(The image of Mr. Spock kissing Leila in a romance with an alien flower is from Wikpedia)


Gort & The Stig are my obstructions, invaders of my now (penetration all the way to the core of the moment, a sit-in saucer-style* center of a GAS universe: the GORT- &-STIG-verse, v1.1), agents both against and for, via twists, via other manipulation sets, larger relevance, significance, agents that take humanity to and from exaggerated elevated states and profound prolonged descents; they are worthy and unworthy vehicles, part of the world of humans, related to humanity without having to conform to humanity's boundaries that they, when outside humanity, help define and restrict.

Some say his teeth control the quality of the irons approved for use in extreme ironing and that his tastebuds are carbon fiber gum balls shrunken by his pulse; all we know is he's called The Stig

Here they are: The Stig & The Anti-Stig (GORT edition)

Here they are again: The Anti-Stig (GORT Edition) & The Stig:

Read more about the Habits of Species Stig at shaun's bicester info blog and at Top

I The Stig & The Anti-Stig:

Thursday, September 25, 2008

PROJECT STIG: GORT EDITION (a reverent & irreverent twin study that is also an adventure in limited fork theory)

Announcing: Project Stig: Gort edition

In Limited Fork Theory, collage as an information and intersection set
need not maintain consistency or continuity of form, duration, space, scale, substance, time, and/or configuration, for instance.

Collage system components
(systems & subsystems themselves) need not touch directly, need not maintain close proximity
—as in celestial collages known as a constellations or star perceptual systems.

Depth ceases to register, ceases to have relevance for the human eye at such distance.

As if infinity compounded by infinity,
not the same infinite distance from us,
some theoretically further, some mathematically closer
though without relative difference on the impact on
what seems equally unviewable;
equally infinitely distant through unassisted human eyes,
including the extended viewing imagination can amp up.

For a moment, I return to Limited Fork Theory's humble start,
the first theory video (from 2005): DOD: the death of depth:

(a Limited Fork Theory root system, and from it, these new, these further, these extended, these growing,
these continuing bifurcations)

Here is what happens to this centered poam expressed as text, this anchor point system,
this bifurcation station, this language system hub
as it interacts further, extends, enhances, confounds, transforms
in acts of kaleidoscopic symmetry in forms of translation,
in forms of multidirectional journeys through/in/besides/etc. language systems:

English - French - English - German - English - Italian - English - Portuguese - English - Spanish - English

(in the lost in translation vehicle, a transport system as is metaphor).

Original English Text:
As if infinity compounded by infinity,
not the same infinite distance from us,
some theoretically further, some mathematically closer
though without relative difference on the impact on
what seems equally unviewable;
equally infinitely distant through unassisted human eyes,
including the extended viewing imagination can amp up.

Translated to French:
Comme si infini composé par infini, pas la même distance infinie de
nous, un certain théoriquement autre, un certain mathématiquement
plus étroit cependant sans différence relative sur l'impact sur ce
qui semble également unviewable ; yeux humains sans aide traversants
également infiniment éloignés, y compris le bidon étendu ampère
d'imagination de visionnement vers le haut.

Translated back to English:
Like so infinite composed by infinite, not the same infinite distance
from us, some theoretically other, some mathematically narrower
however without relative difference on the impact on what seems also
unviewable; human eyes without beams assistance also infinitely
distant, including the wide can amp of imagination of viewing upwards.

Translated to German:
Wie so endloses theoretisch bestanden durch endloses, nicht der
gleiche endlose Abstand von uns, einige anderes, irgendein
mathematisch schmaleres jedoch ohne relativen Unterschied auf der
Auswirkung auf, was auch unviewable scheint; menschliche Augen ohne
die Lichtstrahlunterstützung auch unendlich entfernt, einschließlich
die breite Dose Ampere von Phantasie von aufwärts ansehen.

Translated back to English:
Like so endless theoretically insisted by endless, not the same
endless distance from us, some other, any mathematically narrower
however without relative difference on the effect up, which also
unviewable seems; human eyes without the light beam support also
infinitely removes, including which ampere of fantasy from upward
regard broad box.

Translated to Italian:
Come così infinito insistito teoricamente da infinito, non la stessa
distanza infinita da noi, un certo altro, qualsiasi matematicamente
più stretto tuttavia senza differenza relativa sull'effetto in su,
che egualmente unviewable sembra; gli occhi umani senza il supporto
del raggio di luce egualmente infinitamente rimuove, includendo che
ampère della fantasia dalla vasta casella di riguardo ascendente.

Translated back to English:
Like therefore infinitely insistito theoretically from infinite, not
the same infinite distance from we, a sure other, whichever
mathematically more strait however without relative difference on the
effect in on, than equally unviewable seems; the human eyes without
the support of the light beam equally infinitely remove, including
that to ampère of the fantasy from the immense case of ascending

Translated to Portuguese:
Como conseqüentemente infinita o insistito teòrica de infinita, não
a mesma distância infinita dos nós, uns outros certos, qualquer
matematicamente mais strait entretanto sem diferença relativa no
efeito dentro, do que ingualmente unviewable parece; os olhos humanos
sem a sustentação do feixe luminoso removem ingualmente infinita,
including aquele ao ampère do fantasy do exemplo immense de cuidado

Translated back to English:
As consequently infinite the teòrica insistito of infinite, not it
same infinite pitch of we, some other certainties, any mathematically
more strait however without relative difference in the effect inside,
of that ingualmente unviewable seems; the human eyes without the
sustentation of the luminous beam remove infinite ingualmente,
including that one to the ampere of fantasy of the immense example of
care ascending.

Translated to Spanish:
Como por lo tanto infinito el insistito del teòrica de infinito, no
él la misma echada infinita de nosotros, algunas otras certezas,
matemáticamente más estrecho sin embargo sin diferencia relativa en
el efecto adentro, de ese ingualmente unviewable nos parecemos; los
ojos humanos sin la sustentación de la viga luminosa quitan el
ingualmente infinito, incluyendo aquél al amperio de la fantasía del
ejemplo inmenso del cuidado que asciende.

Translated back to English:
Like therefore infinitely the insistito of the teòrica of infinite,
not infinite same he thrown it of us, some other certainties,
mathematically more Straits nevertheless without relative difference
in the effect inside, of that ingualmente unviewable we look like; the
human eyes without the sustenation of the luminous beam clear
ingualmente infinitely, including that one to the ampere of the
fantasy of the immense example of the care that ascends.

In these transactions of translation, the exchanges are multidirectional;
not completelosses, but twistings, nudges, replacements, substitutions;
attempts to work on a puzzle —so there is some sense of expecting possibilities of resolutions,
enough provided, a substantial enough stepping-stone so that what is next
take on increased likelihood of connection with something, of the accessing of something

in both (or more) directions,
the center returned to, marked with information
from the transaction, from the connecting, and then bifurcates again,
connects again, is marked with information of these interactions,

the initial conditions (that limit what's possible to the infinities bounded by the context established
by the active set of initial conditions of each transaction)

Flux System Word Map

English gives to and receives partialities of partialities from French gives to and receives partialities of partialities from English gives to and receives partialities of partialities from German gives to and receives partialities of partialities from English gives to and receives partialities of partialities from Italian gives to and receives partialities of partialities from English gives to and receives partialities of partialities from Portuguese gives to and receives partialities of partialities from English gives to and receives partialities of partialities from Spanish gives to and receivespartialities of partialities from English

Perceptual flatness links and lassos stars onto a single plane,
often with the apparent uniformity of a necklace —such as these radiant beads:

and so we dress up the sky, seeing something that can be perceived as great even without details present through lenses
of telescopes —I'm hearing LeAnn Womack's I Hope You Dance right here...

I hope you never lose your sense of wonder
You get your fill to eat
But always keep that hunger
May you never take one single breath for granted
God forbid love ever leave you empty handed
I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give fate a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance

I hope you never fear those mountains in the distance
Never settle for the path of least resistance
Living might mean taking chances
But they're worth taking
Lovin' might be a mistake
But it's worth making
Don't let some hell bent heart
Leave you bitter
When you come close to selling out
Give the heavens above
More than just a passing glance

And when you get the choice to sit it out or dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

I hope you still feel small
When you stand by the ocean
Whenever one door closes, I hope one more opens
Promise me you'll give faith a fighting chance

And when you get the choice to sit it out or dance
I hope you dance
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who)
(Wants to look back on their years and wonder)
I hope you dance
(Where those years have gone)

(Tell me who)
I hope you dance
(Wants to look back on their years and wonder)
(Where those years have gone)

Music and Lyrics by Mark D. Sanders/Tia Sillers
Copyright © 2000, Uni/Mca Nashville. All Rights Reserved.
from the album, I Hope You Dance

(from internet resources)

(star from James Jensen Design)

In establishing connections across scale, space, form, time, links to and from hubs
or anchor points —bifurcation stations—

(which any point can be,
any point from any scale);

in making connections, what is mapped is a collage of interactions,
a warped or here-and-there regular (for a duration of time) proxy-extended kaleidoscopic symmetry

(from American Mathematical Society)

(a symmetry of close relationships that extend & enhance identities, that bring together,
construct, no matter how brief the union, how ultimately [assuming such ultimate exists] [un]successful the unification, evidence that there was unification marks participants;
information of unification becomes part of the components of interaction,
one of the collaborators in close relationships
such as shadows, echoes, and reflections and approximations of such)
in which a logic of connection forms sufficient similarity
or purpose that extends this pattern of logic, forming a symmetry of logic that can manifest

in any, in multiple forms
on any, on multiple scales
in any, in multiple locations
at any, at multiple times
for any, for multiple intervals and/or durations.

The logic can link visual, sonic, olfactory, tactile, cognitive, imaginative structures, patterns, hunches, errors, etc.,
these linked tines often aesthetically pleasing, often jarring —depending, depending, depending

perhaps helped into acquiring such configuration or (flexible) frame by desire/curiosity/need to construct it,
that information encouraging that which is or can become findable according to the search parameters
to be more likely to be found;
the information becomes biased/oriented/directed through interacting with the search used to investigate, used to understand; this unfolding of the possible unfoldings marks the reality available to be perceived/detected.

Metaphor can function as a tool-kit or tool system
for forging liasons between at least two entities
(either end/any end of metaphor can split into any number of tines,
and the ends of metaphor do not have to split into the same quantity of tines.
Metaphor is not only transformation or morphing of something(s) into other thing(s),
but it is also travel, route, path as well as vehicle; a transport system,
for implicit in transformation is movement from configuration to configuration,
and what can be transformed includes that possibility that destination(s) and point(s) of departure
do link, do come together on some scale in some location for some duration of time on some scale

metaphor becomes a tool for navigating whatever is/was/becomes navigable.
Metaphor travels within a kaleidoscopic symmetry it makes/identifies.

Metaphor is also a form of collage
(as are text poams).

The collage may be layered, convoluted, warped; have widely varying densities, may take on the regularity of a quilt or agricultural fields, may be the universe, the brain and its content, cellular structures.

Here are two visual metaphors by Bizarro himself: Dan Piraro:

(from Bizarro comic blog Bizarro Trading Cards are now available, by the way)

These two ads offer fused or stacked collages in which metaphor is embedded/is the vehicle of fusion, how bean and burger converged, how mustache and hat merged with identity; text other than the language of placement of the hat is minimal:

it's the hat

So I set out on a really big road trip
through as much kaleidoscopic symmetry as I could find/make:

yes I was looking for The Stig

--and I found Gort--

a reverent & irreverent twin study

—yes; The Stig's personal ancestry includes his life and work as Gort.

His better-than-monkish silence, his unprecedented driving skills (licensed for light years), and his love of Theremin alien lullabies prepared him to get around the universe in tune
—but that was a dream job from which The Stig has retired

to drive vehicles on Top Gear
in a circle the diameter of the Gort-guarded flying saucer spacecraft in the 1951 release of
Day the Earth Stood Still, the film in which Klaatu through Michael Rennie made the earth still for thirty minutes, to the delight of Sam Jaffe as Professor Barnhardt, physicist, and Einstein substitute (a la Equal Brand sweetener) whose equation (identified by Klaatu as a problem in celestial mechanics) is accelerated by the space traveler's help
on a chalkboard Hilda was about to erase before Klaatu's caution against that erasure startles her.

Klaatu & Bobby interact with Barnhard's equation:

Barnhard with blackboard equation:

Einstein with blackboard equation:

(from father

I also like (kaleidoscoping further) Sam Jaffe also as the medical guru heading Ben Casey's Hospital
whose man woman birth death infinity

linked well with gort klaatu barata nictoe
as echoes and translations —a Limited Fork Theory system of kaleidoscopic symmetry,
and Patricia Neal's saying as Helen Benson gort klaatu barata nictoe
did indeed mean that a matter of life and death had surfaced, as this apparent infinite loop of birth and death has always been for the abbreviated always that humanity can already claim.

So round and round the loop drives The Stig, as fast as he can
for the love of orbits
within what's possible for the vehicles he pilots: the body (whether robot, terminator-in-training or something else, oddly fantastic circular melange) in The Stig suit and helmet and the car.

Professor Barnhard's equation:

Einstein writing equation on blackboard (close-up):

(from corbis)

A reality in which Einstein has Hilda-type help variation:

(from science after sunclipse)

Standing still is the death of Limited Fork which depends on, move with, lives as interaction, as motion, as event, as evidence thereof; so when the earth stood still, there were marks of prior motion, evidence of ceased activity; the fork limited to artifact, at rest; the fork not forking, but forked to death, the tines more etched and defined, the kaleidoscope fixed, singular perspective, no way to turn what could be a dial if turned; an unvisited gallery in which no movement results in no visitation if nothing moves.

So I am intrigued by that Day on which there were ethical exceptions to what was stilled; a beauty of exception, a marvelousness of exclusion.

Maybe a last act before immobility will be a meeting of all tines, a converging movement into an ultimate entanglement, a tying into a bow as a gift of peace, still(ed) moment? if time has stopped? still(ed) day/night? if day/night/time has stopped? Light is event, and stops. Darkness is event? State of being dark? Active darkness? Or the appearance of cessation itself, the look and feel of cessation?
Singularity? Outcome of the fusion of everything multiplied by the zero that is part of an all-inclusive all-embracing everything.

Solved and unsolved universes

Further kaleidoscopic perspectives in a collage system of travel toward a gift of meaning:

Day the Earth Stood Still 1951 warning of hope excerpt:

and a remix, a double take, a delayed twin, updated, clone raised apart yet interacting with certain gist, certain marks,
certain fields of information:

The Day The Earth Stood Still (2008) - Official Trailer (HD) - The funniest movie is here. Find it

Monday, December 17, 2007

A Dream of a Modified Google App

submitted by Forker Girl

While surfing and noticing a proliferation of Google AdSense ads, I thought wow; these ads are so smart, so relevant and responsive to the content
--wouldn't it be great if on academic pages, there could be content and search ads steering users to similar or related academic content?
Perhaps content and search ads based derived from search engine databases created by academic users?

So on a page about Poetics, there would be an academic AdSense ad for Eng 280 Limited Fork Poetics and for Eng 240 Limited Fork Poetics, for instance.

The following audio piece, Poetry Is a Dynamic System, by forker girl and ansted of offers some of the details of some of the properties and property's
of a Limited Fork Poetics enclosure system:

Saturday, November 3, 2007

Forkergirl high jinks

Limited Fork --as it should-- continues to bifurcate, the beauty of it, the treeness of it, and quite appropriate for the system that it is; anyway, it's bifurcating (predictably) in unpredictable ways, a five way split, a quintet of paths all accessible from A Limited Forker Girl's Tines where you'll be able to experience feasts of unmarketable chapters, starting with chapter 1 of Neurological Winter: When I Was Bread. You can also listen to When I was Bread --check it out!

Friday, July 13, 2007

Some Thoughts on Preparations for Consideration of Some of a Limited Fork's Limitations

—Oh, and I didn't mean for this to sound as technical as (maybe) it does, association with some stuffiness here and there. I mean, this is about a fork after all —Did I forget that?

Assume an eating utensil of a common or uncommon metal, or of plastic.
Assume that this moment has been arrived at through many other moments that won't be directly considered here
other than how certain configutations of history might supply more leverage to the fork and other set ups might help it break, bend, or fade more easily.

While the fork indeed is a tool of access, grasped to seize something that the fork transports, usually to a mouth.
The fork also delays intimate contact, puts off tactile handling, so can poke around and do the dirty work of touching that which is considered undesirable, toxic, unworthy of direct contact. But even then, the fork is accessing somthing so that the user of the fork need not touch it. If a plastic fork has made the contact with the undesirable or the hazardous, the fork too may be easily discarded, is meant to assist in access for an abbreviated length of time. It isn't meant to endure or be able to stick to any heirloom status thrust on it; the plasticity itself is meant to disignate the plastic fork as disposable. This is not to say that the plastic fork could completely resist efforts to make it collectible, or to make it become part of high art, or to make become a tool that applies paint to an art surface, or to make it become the art surface to which art product, perhaps just a title, is attached. Perhaps this is a good location to direct you to a review of Miquel Coyula's film The Plastic Fork.

But the plastic fork, staying with the literal, because Limited Fork Poetics and Limited Fork Science do not prohibit the literal —this is very important. Associating the literal with the surface for an extended moment, I must point out the complexity of the surface, and that in bypassing the surface to access something deeper, the surface is often insufficiently studied, so isn;t likely to be sufficiently understood. And considering just how many interactions occur on surfaces (or at boundaries which are forms of surfaces), and considering that surfaces occur in interior locations as well as exterior locations, and that when digging into something, more surface tends to be revealed, surface as a point of contact, as an interaction site —surely my heart has a surface, more than one, the outer surface and the other side of that surface. The surface of my skin has two sides, an interior as well as an exterior. That something doesn't penetrate the surface may be revelatory, at least in part, of something about the nature and substance of that surface in a particular location, as the surface may not be the same in every location at every miment. An event or interaction need not occur over an entire surface but may be confined to increadibly local areas. Two of my favorite books about surfaces are: "On the Surface of Things" (Felice Frankel, George Whitesides, full of compelling pictures —to make the science more accessible and appealing to more people) and "A Search for Structure" by Cyril Stanley Smith (another book by him, too, actually: "Structure and Properties of Solid surfaces). Patterns on surfaces seem to outcomes of dynamic processes, and it's both interesting to understand the depth (or limits) of a pattern, and how pattern changes as it's followed through (or on) surfaces that may also be changing, and not necessarily uniformly or at the same rate as changes in pattern. Many patterns do seem to fork, bifurcate, or repeat on some scale. For a consideration of dynamic form in nature, click here.

Even without super highpowered scanning and magnification techniques that Frankel used, it's still possible to access some of what is just beyond unassisted human visual perception. Tactile interaction, using the hand as the limited fork it approximates, the fingers as tines; tactile interacrions can often expose more about textures of surfaces than visual consideration. And an oral form of tactrile encounter can reveal more still, not that all surfaces should/can be tasted. I use a usb microscope with my laptop to scan surfaces at 50X magnification, beyond what I can see unassisted, yet not so magnified that I lose all connection with the unassisted look of surfaces. Even though, gradations of smooth, rough, bumpy emerge, and the tendency of accuracy of observations to be very localized is quickly emphasized. Hours of fun also. The video poam "In Your Face" was made using a 50X USB microscope:

The plastic fork for many is problematic because of the plastic, the nonsustainable source of plastic, and plastic's longevity in dumps and landfills. I can envision some white-tipped lawns as tips of tines of forks that wouldn't stay buried after the passingof a few generations of humans (I can also envision this as fence stubble —see an earlier post). Biodegradable disposable eating utensils are now emerging as discussed in the article Ridding the World of Plastic Forks

Problems with looking at surfaces tend to be reconfigured into challenges of interpretation and analysis when the surface hosts art; many paintings and drawings exist on only one of the surfaces of a canvas or a sheet of paper. In many museum and gallery settings, most quests of the art do not mind not accessing to the other surface of the art presented as paintings and drawings. Continuity of surface and continuity of art is more associated with 3D pieces called sculpture and installation (the three-dimensional canvas treated more like 2D representation —and paint has thickness!). But anyway, words tend to be printed on the surface of paper. The ink may actually penetrate the paper, but that isn't usually perceptible to us, and when the words occupy the surface differently, often there are words for these departures from ordinacy occupany of the surface of the paper without an interaction with depth, emboss and engrave, for instance. So the fork has surfaces and accesses surfaces, is usually grasped on the surface when in use, that which falls between the tines falls between surfaces of the tines and not into the depth of the tines though it may a depth that is perceived as what is being fallen into.

The fork can more neatly and elegantly navigate certain substances, can allow liquids to flow between tines, briefly channeling the liquid into strands (unless the fork is made of substances whose structure permit the liquids to flow through, perhaps altering the speed of the liquid's flowing, not all strands passing through the more open structured tines at the same time, differences in distance being possible, and differences in the thickness or other properties of the tines and the shape of the space between them. As the user manipulates it, food or other stringy stuff can be swirled aorund around the fork (for a middle school science fair project five years ago, a team of kids modified a batter-powered toothbruch to be able to wind spaghetti around itself although there are battery-powered forks made to do that, and the rotating hairs or tines of my vacuum cleaner's main brush wings fibers around itself all the time although I don't want it to), a coil of pasta easily suggesting other things that could not possibly coil around the fork yet the fork activates, supports access to physical impossibilities that the mind is able to construct.

There are times in which hair flying out from a head seems to fly out in long, limp tines or lines of an elongated fork; amplitude in the movement may be apparent. It is the separation of the strands that's significant here; a clump of hair or whole head of calm hair as a model of a seemingly (scale dependent perception) static tine, but a shift of scale (say magnification) and the single clump is obviously made of components, and there is space between components even if only in the form of the space that the boundaries occupy. As magnification increases, there may be more and more apparent space between the components present at each level of magnification.

There are tines through which some of what was grasped slips, whether or not the user of the fork is aware; there is likelihood that a totality was not successfully accessed by the fork. There is possibility or likelihood that what was accessed by the fork may be altered by access itself, an outcome of the intersction with the fork at the moment of capture. There is possibility or likelihood that as what is accessed is transported (for the fork is a transporation system) from one location to another, that some particle of what is being transported is shed or that a particle is gained as what is being trasported interacts with what it moves through, with the vehicle, and with the constituents of the destination. By design, the limited fork cannot capture everythinfg. In Limited Fork Poetics, there is acknowledgment that outcomes are based on partial considerations and may be applicable to only conditions so localized or specified, that meaning can be questioned, that meaning cannot be assumed. In Limited Fork, what is forked up spends so much on dynamic variables (including mindset of the user of the fork) that conditions that produced outcomes may not be duplicatable, just as the outcomes may not be duplicatable. The gaps in limited fork, the negative as well as the postive spaces are part of interactions, are members of the interacting community, and behave differently. Outcomes or poams that cross or straddle or spend time in one then the other or that oscillate with some regularity or irregularity will behave differently from poams that (apparently) remain in positive or negative space (which may also be referred as positive or negative tines.

The partiality that the fork accesses may exclude any portion of the beginning, any portion of the middle, any portion of the end, or any possible combination on some scale. The partiality excluded may not interact the same as it is considered on multiple scales. Limited Fork Investigations join activities in progress. Limited Fork investigations leave activities in progress. The investigation itself may produce feedback poams as part of the outcomes. It is possible that the poam may approach reasonable consideration as being only a feedback outcome, a response to investigation. Malfunction as an outcome is a poam as is function. Either function or malfunction may navigate negative and positive spaces and structures. Any way that a space or structure may be occupied for any length of time is an appropriate outcome for a poam, as if the configuration of the outcome of conceivable, then it should exist. The Limited Fork is actively trying to identity the forms that are impossible so allows any form that is possible for the circumstances of interactions at some period of time on some or multiple scales. Tines of a Limited Fork may cross many boundaries and dimensions, accessing something in none, some, all of them, but not necessarily at the same time. It may not be possible to definitively pinpoint where what is accessed has come from if in accessing it, the fork crossed multiple boundaries and/or dimentions on multiple scales.

Limited Fork therefore urges its users to document (in some way) the investigations carefully, capturing what decisions andare made, how the decisons are made, and why the decisions are made, and the outcomes of the decisioms. The documentation itself can be a poam or poams, and may exist in multiple forms, as shaped by what is being ivestigated, and the circumstancesof the investigation. Articulation of the rationale the user of the limited fork is applying to the investigation and using to guide the decisions is what, in a graded interaction, is valuable even over aesthetic consideration, since the art is perceived by the limited fork itself (another of its limits) as being coincidental to the investogation of something. It may become necessary to modify the investigation as it progresses and outcomes shape the investigation. Modificartion may become necessary at any time, even when modification is not convenient. Such an outcome should be addressed in the documentation. That the documentation is art is possible, perhaps likely, but is not the only purpose of mapping the investigation. Mapping the investigation and making art can both drive the use of the limited fork, but art isn't necessarily an outcome, and evidence usually is.

There is more to potentially be responsible for when using a limited fork, but an irresponsible forker may not take all (to the extent that the allness may be determind) or some of that responsibility. Shunned responsibility may contribute to positive or negative occupancy or positive or negative structures. Some portion of responsibility may be oart of what is not picked up with the limited fork or may be part of what falls off the limited fork or may be part of what clings to the limited fork when is accessed is taken in. There is possibility or likelihood that all the partiality that is transported by the Limited Fork does not get taken in for consideration. Spaces between tines may widen, narrow, close for some length of time on some scale.

These starter principles alone are sufficient to transform the form of poam produced through use of a Limited Fork.
A community of limited forks is so happy about that, they're dancing.

Sunday, July 1, 2007

Looking at A Forkful of Tree Outside the Window...

...(after obnoxious neighbors build a fence so that I can't see the wild parties anymore, just hear them at 3 am, but the treetop is still visible, and illuminated by citronella burning in the dark, dominating whatever the moon and stars might be doing--I can't even enjoy the mating ritual of the lightning bugs, and that IS a shame --end of title of this fork writing)

A tree (especially one trimmed and smoothed by various forms of distance so that it can be a good model) is a good model of a limited fork system, and as a model, it and a model of an eating utensil can approach interchangeability (though the point at the moment isn't substitution, just identification of some basic pattern[s] in the structures, some basic structure[s] in the patterns).

The simplified model (I like such models because stick-figure mastery is required , and I can meet that requirement as long as the mastery of my physical self as all sticks and bones is excluded —there are parameters, and that new fence that birds have already been in dialogue with, in two types of tactile interaction —perching and waste product elimination— is one quite linear parameter);

the simplified model of the tree, all stick and simplified bone, or all line, branches above and below the ground, pointing to connected systems (like the most emaciated dominoes ever or fat dominoes --I got to this honestly; it only seems inevitable now-- viewed from a distance where they seem to be the most emaciated dominoes ever); pointing to a connected system that is exposed and a connected system that is concealed, the concealed and exposed both connected to a stick or line (and to at least one timeline) that moves through both a concealed and exposed point.

[Fig. 1: model of some fat dominoes from "n" distance --very far-- away // \\ | ]

There are events in which what is rooted in concealment may be partially exposed for some length (line) of time (a line which may also be a branch or line or tine of the model) or may be completely uprooted for some length (line) of time.

There are events (which may also be branches or lines of the model); events in which what is exposed may be partially concealed for some length of time (a line which may also be a branch or line or tine of the model) or completely concealed for some length (line) of time (a line which may also be a branch or line of the model).

--I just might be building a fence right here--
I will try in future posts to reduce all this to even simpler terms; this is a fuller mapping so that I can check better that I've covered what must be covered (while also including some diversions as branches that could be pruned, with no damage done other than a loss of that full shape that appeals to so many about trees.

In case you're finding some murkiness here, I can promise you that here and there, some clearings will emerge, and I hope these clearings can be appreciated as the joy of coming out of tunnels. But to experience that joy, the tunnels should be entered. The densest part of the canopy, the parts, to quote Zachary C , writing in an email response to the version of this post that was here before he responded, "of tree itself that are effectively context, as with self-shading." (Thanks for writing that, ZC).

Okay; to resume: Events can happen during moments of concealment or exposure that can alter the structure (shorten or break or stretch or _____________ what have you) the branch or line concealed or exposed.

--a taller fence? One that may also be used as a slippery slope?--

Then maybe some more what have you, some more events, some more interactions, and ____________what have you, some having and some not having, and ________________ (you can get the picture) .

So to stop the __________what have you, focus on a good lean chunk and forget the rest of that (before it starts to hobnob with the tree of life, the tree of knowledge, the tree of ever-ascending infinity, the tree of ever-descending infinity); at some point, chop down the tree. Specify a point, and chop there, divide, reduce --which could mean fold, smaller and smaller, as if moving further and further away--until the people are like ants, perhaps ants attached by their jaws to stalks of grass (such ants were recently televised in "Planet Earth").

In a flat form, the ants and stalks of grass could be like short lines (twigs) attached to longer lines (branches) in a tree diagram. This pattern of lines could be an outcome of unfolding some solid structure into a flat form, and pondering what happens to volume and how the flat form holds stuff or doesn't hold it, and is it still an "it"? (--that fence is an it and an itch for me that flares wherever the writing refers to it)

--Because each line, tine, branch, sub-line, sub-tine, branchlet, each _________what have you, could be infinitely long or short, and ________what have you-- But this won't matter in many situations. It can matter, and Limited Fork Science is a tool that can also help determine when these conditions matter.

An option: Climb the tree
(a different maneuver if you're in flatland)

An option: Climb the fork --an eating utensil is a fine model, but here a rather skeletal form: stick figure as tree, Mommy, Daddy, Baby makes three stick figure as tree, Mommy, Daddy, Baby makes three, Babies makes four, and so on, more branches and generations. A bony map. Extend the generations to a certain location, and you arrive at a possible outcome (that may be worth writing about)

--(some would say the possibility of humans from primates, others would say something else, & others would be tightlipped, some of the mentioned saying in trying to squeeze through the tightness ending up as less accurate but perhaps very imaginative translations or just flat out weak appoximations)-- Somewhere this extended family, this extended possible outcome might appear a model of an aerial view of a river with plenty of progeny or maybe just a few tributaries, but some sort of flat system (even after a possible drought, the bifurcating stick figure family might serve as a model of a cracked, dry river bed system, some climatological forces doing the writing).

The writing in this post is just what happens on the occasion that my neighbors build a fence. The writing in this post is how I attempt to build something bigger. And their fence isn't even a good-looking fence. And it's definitely not —I do mean definitely (it's okay to ask me how I know what I know, and I do in fact know even if I don't answer beyond saying this)— termite-proof. The building of my bigger (and, I like to think, better) fence is the building of a general map of Limited Fork Science (and a better map than what I would have built when the idea hatched in 2004 and was incapable of presenting itself as anything other than a baby. Now "a baby what?" can be answered. A meeting of Limited Fork Science and "The Ugly Duckling").

Anyway, Limited Fork Science is the study of interacting language systems (including some of the close and distant ways that close and distant neighboring systems communicate ["communicate" because a parameter here is that something has been noticed or suspected for a reason], strong and weak forces --the neighbors don't even know I'm saying this), and language system refers to visual, sonic, olfactory, and tactile systems/subsystems, and that, of course includes math as a language system. Not just touch math, for direct contact, the intimacy of numbering multiple contact points on a single loved object or on sets and groups that are loved, but also the properties of surfaces, the rules of knowing what they are and predicting them, and loving the rule itself, touching that rule in the mind, the ideas penetrating tissue, accessing the surfaces of interiors as well as exteriors.

No need to extend this simple fence of writing into a great unscalable wall.
There are conditions in which an extension like that would be necessary, but those conditions aren't active right now.

Instead, it is time to watch a poam in which some close and distant neighboring systems communicate, strong and weak forces, speaking in Pi (Thanks, Rachel; Thanks, Nate):

Oh; don't assume that all of the content in this video poam occupies the same or a single plane; this 2D video can function as the shadow of a 3D conversation. Things that seem to touch may be in locations out of direct contact with each other --physically as well as figuratively. There may be many dimensions that all appear as being on the same plane because they are being shown in a flat 2D compressed environment. Whatever exists on the different planes (or layers) may not touch at all when more dimensionality is possible, present, perceived. Even all of the letters in each word of the writing in the video poam may not be on the same plane (or layers). The writing may be more like the cosmic writing of constellations, perception clustering that which is really far apart in bright covens of our own deception.