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Lexington KY Jan 3 2012 Witnesses called a security guard a 'hero' after a double shooting New Year's Eve.
Lexington police said two teens were shot outside of an 18 and under New Year's Eve party at Monlu--a rentable event space on Village Drive--just after 11:30 p.m. Monday night.
Officers said a 15-year-old was shot in the hand, and a 16-year-old was shot in the chest.
Both were taken to UK Hospital with non-life threatening injuries.
Police said they were unable to get any information about the shooter from any of the nearly-200 people at the party, and no arrests were made.
A security guard--who wanted to remain anonymous--worked the event. He said the teens were outside when they were shot; they came inside bleeding, he said.
The guard said he ordered everyone inside the building to go to the back of it and get on the ground.
The security guard said he then went outside with his own weapon and locked everyone inside. He said he tried looking for the shooter, but was unsuccessful.
"I can see people running around...but I couldn't see exactly who was doing the shooting. I could just hear the shots fired," he said in an off-camera interview.
Witnesses called the man a 'hero' for working to save the teens inside.
3 Ocak 2013 Perşembe
NC teacher fill gun training classes www.privateofficer.com
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CARY, N.C. Jan 3 2013 -- Local teachers are signing up for a free concealed carry handgun course in the wake of the Sandy Hook Elementary School shooting.
The course is offered by Triangle Krav Maga.
Krav Maga is the system of self defense hand-to-hand combat skills taught to Israeli secret agents. Triangle Krav Maga combines that with firearm training.
Now, the center is offering a free gun training course for school teachers. Instructors said they are seeing interest from all across the Triangle.
"Ever since we posted that we're offering free classes for teachers- we've been absolutely crushed, inundated. Teachers want to learn about firearms," Triangle Krav Maga's Molotov Mitchell said.
Since the massacre in Newtown, gun training classes for educators have popped up from Utah to Texas. Gun rights activists are lobbying the General Assembly to allow teachers with concealed carry permits to be armed on campus.
Triangle Krav Maga preaches that when it comes to guns and violence, knowledge is power.
"I think the more you know about potential attackers- about criminals, and the way they go about their business- the better you can be prepared for when that day comes," Triangle Krav Maga's Scott Woods said.
The free gun training course will be held Sunday. It is eight hours long and already has a waiting list.
Source:WTVD
CARY, N.C. Jan 3 2013 -- Local teachers are signing up for a free concealed carry handgun course in the wake of the Sandy Hook Elementary School shooting. The course is offered by Triangle Krav Maga.
Krav Maga is the system of self defense hand-to-hand combat skills taught to Israeli secret agents. Triangle Krav Maga combines that with firearm training.
Now, the center is offering a free gun training course for school teachers. Instructors said they are seeing interest from all across the Triangle.
"Ever since we posted that we're offering free classes for teachers- we've been absolutely crushed, inundated. Teachers want to learn about firearms," Triangle Krav Maga's Molotov Mitchell said.
Since the massacre in Newtown, gun training classes for educators have popped up from Utah to Texas. Gun rights activists are lobbying the General Assembly to allow teachers with concealed carry permits to be armed on campus.
Triangle Krav Maga preaches that when it comes to guns and violence, knowledge is power.
"I think the more you know about potential attackers- about criminals, and the way they go about their business- the better you can be prepared for when that day comes," Triangle Krav Maga's Scott Woods said.
The free gun training course will be held Sunday. It is eight hours long and already has a waiting list.
Source:WTVD
Police searching for suspect in security officer assault www.privateofficer.com
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Porirua nz. Jan 3 2013 Police are looking for a man in connection with the assault of a Porirua security guard in the early hours of this morning, in a robbery attempt.
Police detective sergeant Peter Middlemiss said the guard was on his rounds in Mohuia Cres, Elsdon, when he was approached from behind and grabbed around the neck, before the assailant demanded the guard's wallet.
When the guard refused, his was forced to the ground, kicked in the stomach and chest, and his torso stomped on, before the assailant ran off.
The guard was bruised on his torso and ribs, but was otherwise uninjured.
The male offender was described as Maori, of solid build, about 5'8" (172cm) and was wearing a black hooded sweater, dark jeans and white sneakers.
Porirua nz. Jan 3 2013 Police are looking for a man in connection with the assault of a Porirua security guard in the early hours of this morning, in a robbery attempt.
Police detective sergeant Peter Middlemiss said the guard was on his rounds in Mohuia Cres, Elsdon, when he was approached from behind and grabbed around the neck, before the assailant demanded the guard's wallet.
When the guard refused, his was forced to the ground, kicked in the stomach and chest, and his torso stomped on, before the assailant ran off.
The guard was bruised on his torso and ribs, but was otherwise uninjured.
The male offender was described as Maori, of solid build, about 5'8" (172cm) and was wearing a black hooded sweater, dark jeans and white sneakers.
District law gives broad powers to police chief in closing down nightclubs www.privateofficer.com
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Washington DC Jan 3 2013 The allegation — a young woman sexually assaulted on a bar during an unsanctioned after-hours party — was as serious as the police department’s action was swift: Bohemian Caverns, a popular D.C. jazz club, was shuttered for 96 hours.
When D.C. Police Chief Cathy L. Lanier shut down the U Street NW bar last month, it was the 15th time that she had issued such a decree last year, four more than in 2011. It was the first time the chief’s power to close a club was exercised after anything other than a shooting, a stabbing or drug trafficking.
A 2005 District law affords Lanier unusually broad authority over the city’s bars and nightclubs, a responsibility generally left to the agency that regulates liquor licenses. Officials say the statute, which allows police to close establishments for days, is meant to be firm. But the chief’s use of that power has renewed discussion of the policy as the city’s growth spurs economic development but also causes worries about crowds and crime.
Lanier denied that she is embarking on a bar-closing binge. She said she uses her authority — which can cost establishments dearly in revenue and unwanted publicity — deliberately. The opinions of others — including elected officials and some in the business community — range from supportive to concerned.
The viewpoints of some key players remain unclear. Neither the city agency that regulates establishments that serve alcoholic beverages nor the Restaurant Association of Metropolitan Washington, which represents many of those establishments, responded to repeated requests for comment. Many bar and club operators expressed reluctance to speak frankly for fear of appearing to excuse crime.
‘Egregious incident’
Lanier called the latest incident to lead to a club’s closing — the early December sexual assault at Bohemian Caverns — “egregious.”
“We had management and employees who allowed people to drink inside a bar after it had been closed,” Lanier said. “That incident never should have happened.”
A co-owner of the club — located a block from Indulj, a club that Lanier closed after three men were shot outside — threw himself on the mercy of the D.C. Alcoholic Beverage Control Board during a December meeting.
“All of us are embarrassed and angry at the employees who violated our trust,” co-owner Omrao Brown said. “I apologize to everyone here.”
The ABC Board allowed Bohemian Caverns to reopen after Brown revised his security plan, ordered guards to stay until the staff had cleaned up after closing and fired a manager and two employees. By then, the club had been closed for six days, and two concerts had been canceled. No arrests have been made.
Lanier attributes the closings to the proliferation of new venues, a result of the growth of the city’s night life. She has targeted only a small fraction of the city’s more than 1,700 licensed establishments, a point her critics concede.
“I don’t always close a bar,” Lanier said. “To me, it has to be very clear that there has been some action that management did or didn’t do that resulted in an injury to the victim.”
Andrew J. Kline, a lobbyist who represents Bohemian Caverns and many other bars and clubs before the ABC Board, questioned what he called Lanier’s overuse of the law. “I am of the opinion that this is an emergency police power and should be used sparingly and thoughtfully when there is an actual imminent threat to public safety,” Kline said in an interview.
“Certainly public safety is paramount, but the reaction should not be knee-jerk,” Kline said. “There should be an actual ongoing threat to public safety. . . . We don’t close the bus system when there’s a killing aboard a Metrobus.”
Some business leaders disagree. “It’s the chief’s obligation to maintain public safety,” said Robin Eve Jasper, president of the NoMA Business Improvement District. “Unhappily, a number of the club operators are not sufficiently attuned to the safety of their establishments.”
The ABC Board’s role
Ruthanne Miller, who chairs the ABC Board, declined through a spokesman to comment on Lanier’s use of the closure law or on how the board deals with bars and clubs the chief targets.
Enforcement related to police action is a small part of the board’s role. Each year, it acts on hundreds of reports concerning liquor-selling establishments, generally striking deals to improve security or correct other problems.
Since 2009, the board has revoked the license of only one establishment — a bar in Northwest Washington tied to cocaine sales — that Lanier had closed temporarily. A club that Lanier ordered closed twice in two years, once after a machete attack, remains open with no additional sanctions imposed. Lanier had recommended that the owners lose their liquor license.
The Emergency Suspension of Liquor Licenses Act, enacted two years before Lanier became chief, gives the police chief power to close an establishment for up to four days, after which the ABC Board decides what will be done.
Other jurisdictions, such as Baltimore, have similar laws, but few, if any, grant such far-reaching discretion. In Baltimore, for example, the police commissioner can padlock a club only after a public hearing.
D.C. Council member Jim Graham (D-Ward 1), who represents the U Street corridor, said he wrote the bill to be strong.
“We don’t want crimes committed in bars, and we don’t want after-hours activity,” Graham said. Graham said he has “no reason to question” Lanier’s closure orders.
Inside and outside
Bar and club owners, however, say it is unfair to hold them accountable for incidents that occur outside their clubs. Police say that many incidents start inside the clubs and that shoving people outside doesn’t excuse the clubs.
The nightclub Fur, in NoMa, was shuttered in 2011 after the machete attack and, again, in November after a patron and a security guard were stabbed during a fight. The owner, who did not respond to a request for comment, had told police that the guard was hurt when he slipped and fell on broken glass, according to an investigator’s report to the ABC Board.
Fur holds more than 1,200 people, and on busy nights hires 47 security guards. The ABC Board opened 16 case files against the club last year; it fined the owner once, for $3,250, and suspended the license for four days for violating an agreement to improve security.
The other cases — which included incidents of robbery, gun possession and assault, according to police reports — received no action.
NoMa is home to several large nightclubs, which were there before the area sprouted new condominium developments, stores and restaurants. Police have noted tension between club owners and the new arrivals.
“We love night life in the city,” Jasper said. “But there has been a deafness to the issue that has been created in the way some clubs are licensed and in the way some operators are allowed to run them. . . . I don’t know why it’s only Chief Lanier who is paying attention.”
Source:Washington Post
Washington DC Jan 3 2013 The allegation — a young woman sexually assaulted on a bar during an unsanctioned after-hours party — was as serious as the police department’s action was swift: Bohemian Caverns, a popular D.C. jazz club, was shuttered for 96 hours.When D.C. Police Chief Cathy L. Lanier shut down the U Street NW bar last month, it was the 15th time that she had issued such a decree last year, four more than in 2011. It was the first time the chief’s power to close a club was exercised after anything other than a shooting, a stabbing or drug trafficking.
A 2005 District law affords Lanier unusually broad authority over the city’s bars and nightclubs, a responsibility generally left to the agency that regulates liquor licenses. Officials say the statute, which allows police to close establishments for days, is meant to be firm. But the chief’s use of that power has renewed discussion of the policy as the city’s growth spurs economic development but also causes worries about crowds and crime.
Lanier denied that she is embarking on a bar-closing binge. She said she uses her authority — which can cost establishments dearly in revenue and unwanted publicity — deliberately. The opinions of others — including elected officials and some in the business community — range from supportive to concerned.
The viewpoints of some key players remain unclear. Neither the city agency that regulates establishments that serve alcoholic beverages nor the Restaurant Association of Metropolitan Washington, which represents many of those establishments, responded to repeated requests for comment. Many bar and club operators expressed reluctance to speak frankly for fear of appearing to excuse crime.
‘Egregious incident’
Lanier called the latest incident to lead to a club’s closing — the early December sexual assault at Bohemian Caverns — “egregious.”
“We had management and employees who allowed people to drink inside a bar after it had been closed,” Lanier said. “That incident never should have happened.”
A co-owner of the club — located a block from Indulj, a club that Lanier closed after three men were shot outside — threw himself on the mercy of the D.C. Alcoholic Beverage Control Board during a December meeting.
“All of us are embarrassed and angry at the employees who violated our trust,” co-owner Omrao Brown said. “I apologize to everyone here.”
The ABC Board allowed Bohemian Caverns to reopen after Brown revised his security plan, ordered guards to stay until the staff had cleaned up after closing and fired a manager and two employees. By then, the club had been closed for six days, and two concerts had been canceled. No arrests have been made.
Lanier attributes the closings to the proliferation of new venues, a result of the growth of the city’s night life. She has targeted only a small fraction of the city’s more than 1,700 licensed establishments, a point her critics concede.
“I don’t always close a bar,” Lanier said. “To me, it has to be very clear that there has been some action that management did or didn’t do that resulted in an injury to the victim.”
Andrew J. Kline, a lobbyist who represents Bohemian Caverns and many other bars and clubs before the ABC Board, questioned what he called Lanier’s overuse of the law. “I am of the opinion that this is an emergency police power and should be used sparingly and thoughtfully when there is an actual imminent threat to public safety,” Kline said in an interview.
“Certainly public safety is paramount, but the reaction should not be knee-jerk,” Kline said. “There should be an actual ongoing threat to public safety. . . . We don’t close the bus system when there’s a killing aboard a Metrobus.”
Some business leaders disagree. “It’s the chief’s obligation to maintain public safety,” said Robin Eve Jasper, president of the NoMA Business Improvement District. “Unhappily, a number of the club operators are not sufficiently attuned to the safety of their establishments.”
The ABC Board’s role
Ruthanne Miller, who chairs the ABC Board, declined through a spokesman to comment on Lanier’s use of the closure law or on how the board deals with bars and clubs the chief targets.
Enforcement related to police action is a small part of the board’s role. Each year, it acts on hundreds of reports concerning liquor-selling establishments, generally striking deals to improve security or correct other problems.
Since 2009, the board has revoked the license of only one establishment — a bar in Northwest Washington tied to cocaine sales — that Lanier had closed temporarily. A club that Lanier ordered closed twice in two years, once after a machete attack, remains open with no additional sanctions imposed. Lanier had recommended that the owners lose their liquor license.
The Emergency Suspension of Liquor Licenses Act, enacted two years before Lanier became chief, gives the police chief power to close an establishment for up to four days, after which the ABC Board decides what will be done.
Other jurisdictions, such as Baltimore, have similar laws, but few, if any, grant such far-reaching discretion. In Baltimore, for example, the police commissioner can padlock a club only after a public hearing.
D.C. Council member Jim Graham (D-Ward 1), who represents the U Street corridor, said he wrote the bill to be strong.
“We don’t want crimes committed in bars, and we don’t want after-hours activity,” Graham said. Graham said he has “no reason to question” Lanier’s closure orders.
Inside and outside
Bar and club owners, however, say it is unfair to hold them accountable for incidents that occur outside their clubs. Police say that many incidents start inside the clubs and that shoving people outside doesn’t excuse the clubs.
The nightclub Fur, in NoMa, was shuttered in 2011 after the machete attack and, again, in November after a patron and a security guard were stabbed during a fight. The owner, who did not respond to a request for comment, had told police that the guard was hurt when he slipped and fell on broken glass, according to an investigator’s report to the ABC Board.
Fur holds more than 1,200 people, and on busy nights hires 47 security guards. The ABC Board opened 16 case files against the club last year; it fined the owner once, for $3,250, and suspended the license for four days for violating an agreement to improve security.
The other cases — which included incidents of robbery, gun possession and assault, according to police reports — received no action.
NoMa is home to several large nightclubs, which were there before the area sprouted new condominium developments, stores and restaurants. Police have noted tension between club owners and the new arrivals.
“We love night life in the city,” Jasper said. “But there has been a deafness to the issue that has been created in the way some clubs are licensed and in the way some operators are allowed to run them. . . . I don’t know why it’s only Chief Lanier who is paying attention.”
Source:Washington Post
Nevada Highway Patrol issued 12,000 tickets for talking on phone www.privateofficer.com
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LAS VEGAS NV Jan 3 2013 (AP) — The Nevada Highway Patrol says it handed out nearly 12,000 tickets in the past year to people using cell phones while driving.
Officials say most were getting their first phone ticket, while 30 were cited for their second offense and 25 were getting their third ticket.
A state law passed in 2011 bans cell phone use while driving and covers texting or reading from a cell phone, even while stopped in traffic or at a light.
The ban carries a $112 fine for the first ticket, with a second offense costing $192, and a third or subsequent violation costing $352. Repeat offenders also face demerits on their driving record.
Troopers recommend drivers use a hands-free device or refrain from using their phones altogether while driving.
LAS VEGAS NV Jan 3 2013 (AP) — The Nevada Highway Patrol says it handed out nearly 12,000 tickets in the past year to people using cell phones while driving.Officials say most were getting their first phone ticket, while 30 were cited for their second offense and 25 were getting their third ticket.
A state law passed in 2011 bans cell phone use while driving and covers texting or reading from a cell phone, even while stopped in traffic or at a light.
The ban carries a $112 fine for the first ticket, with a second offense costing $192, and a third or subsequent violation costing $352. Repeat offenders also face demerits on their driving record.
Troopers recommend drivers use a hands-free device or refrain from using their phones altogether while driving.
2 Ocak 2013 Çarşamba
Daniel's lunch
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Daniel loves to eat lunch at school
So far, mom packed his lunches, he only bought chocolate or strawberry milks sometimes whenever we want it
He finishes his lunch everyday
Day 1 Chocolate chip waffle
Day 2 Buttered Pasta
Day 3 Ham & mayo sandwich
Day 4 Ham & mayo sandwich again (his request)
Day 5 Hamburger bun with....another ham and mayo...haha
Day 6 Jelly sandwich and Cream cheese sandwich
Until day 5 he always ate it up, he is also finished his snack
Looks like he is always hungry
Note: Now he can eat more than Clarissa, who is 4 1/2 years older
Mom is happy that he can eat all of it .
So far he doesnt want to buy lunch at school, he still enjoy homemade lunch. These days he is memorizing his pupil number ( which is also like a pin number for buying lunch)
Maybe next week or week after that he can buy lunch. NOT everyday hopefully. Mom will go bankrupt if he buys everyday :)
(Note: we dont have to order at the beggining of the month, he can just order if he wants)
Daniel loves to eat lunch at school
So far, mom packed his lunches, he only bought chocolate or strawberry milks sometimes whenever we want it
He finishes his lunch everyday
Day 1 Chocolate chip waffle
Day 2 Buttered Pasta
Day 3 Ham & mayo sandwich
Day 4 Ham & mayo sandwich again (his request)
Day 5 Hamburger bun with....another ham and mayo...haha
Day 6 Jelly sandwich and Cream cheese sandwich
Until day 5 he always ate it up, he is also finished his snack
Looks like he is always hungry
Note: Now he can eat more than Clarissa, who is 4 1/2 years older
Mom is happy that he can eat all of it .
So far he doesnt want to buy lunch at school, he still enjoy homemade lunch. These days he is memorizing his pupil number ( which is also like a pin number for buying lunch)
Maybe next week or week after that he can buy lunch. NOT everyday hopefully. Mom will go bankrupt if he buys everyday :)
(Note: we dont have to order at the beggining of the month, he can just order if he wants)
MERMAID AS METAPHOR (a beginning consideration from forkergirl's temporary fish eye lens advantage)
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fish eye lens advantage image from forkergirl's photostream
In this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.
This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.
A cautionary tale, to be sure. A scientist accused of playing God to be sure.
Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).
In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.
If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:
The common mermaid is uncomplicated, unproblematic in biological terms. She (usually) looks good,
and, in keeping with her fish contribution, is an excellent catch.
Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.
It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.
Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?
In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.
fish eye lens advantage image from forkergirl's photostreamIn this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.
This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.
Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).
In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.
If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:and, in keeping with her fish contribution, is an excellent catch.
Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.
It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.
Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?
In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.
This is actually a response to David's DJ Shadow post down there but the comment wouldnt allow my video
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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.
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.
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
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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.
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.
"You are mathematical. You don't have to do math; you are math." -Thylias Moss
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Here's a little math I can get with:
“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry Pratchett
Also, I may consider a side-gig in thaumaturgy.
Yes. I think I may.
“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson
Here's a little math I can get with:
“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry PratchettAlso, I may consider a side-gig in thaumaturgy.
Yes. I think I may.
“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson
1 Ocak 2013 Salı
Couple charged after explosive substance, 'terrorist' papers found in NYC apartment www.privateofficer.com
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Manhattan NY Jan 1 2013 A Manhattan couple was facing weapons charges Monday after authorities said they found a substance used to make bombs and papers titled "The Terrorist Encyclopedia" in their Greenwich Village apartment.
Morgan Gliedman, 27, and her 31-year-old boyfriend, Aaron Greene, were arrested on weapons-possession charges Saturday after officers with a search warrant discovered a plastic container with 7 grams of HMTD, a highly explosive white powder used in bomb making, police and prosecutors said.
Also found in the living room were numerous written items containing instructions on the manufacture of explosive materials and bombs, including a collection of pages that had a cover page entitled "The Terrorist Encyclopedia," court papers said.
According to the court papers, chemical precursors to HMTD also were found in the living room.
Greene was held without bail after he appeared in state court in Manhattan on Sunday. Gliedman, who is nine months pregnant, was awaiting an initial court appearance. It was not clear who will represent her in court.
"The whole situation's sad," said attorney Lisa Pelosi, who represented Greene. She declined further comment. He is due back in court Friday.
The New York Post reported in its Monday editions that Gliedman is the daughter of a prominent Manhattan doctor. It described her boyfriend as a Harvard graduate and an Occupy Wall Street activist.
The newspaper said police went to the apartment with a search warrant stemming from a credit card-theft case. It said weapons recovered included a flare launcher, a commercial replica of a grenade launcher, a 12-gauge shotgun, ammunition and nine high-capacity rifle magazines.
Source:www.foxnews.com
Manhattan NY Jan 1 2013 A Manhattan couple was facing weapons charges Monday after authorities said they found a substance used to make bombs and papers titled "The Terrorist Encyclopedia" in their Greenwich Village apartment.
Morgan Gliedman, 27, and her 31-year-old boyfriend, Aaron Greene, were arrested on weapons-possession charges Saturday after officers with a search warrant discovered a plastic container with 7 grams of HMTD, a highly explosive white powder used in bomb making, police and prosecutors said.
Also found in the living room were numerous written items containing instructions on the manufacture of explosive materials and bombs, including a collection of pages that had a cover page entitled "The Terrorist Encyclopedia," court papers said.
According to the court papers, chemical precursors to HMTD also were found in the living room.
Greene was held without bail after he appeared in state court in Manhattan on Sunday. Gliedman, who is nine months pregnant, was awaiting an initial court appearance. It was not clear who will represent her in court.
"The whole situation's sad," said attorney Lisa Pelosi, who represented Greene. She declined further comment. He is due back in court Friday.
The New York Post reported in its Monday editions that Gliedman is the daughter of a prominent Manhattan doctor. It described her boyfriend as a Harvard graduate and an Occupy Wall Street activist.
The newspaper said police went to the apartment with a search warrant stemming from a credit card-theft case. It said weapons recovered included a flare launcher, a commercial replica of a grenade launcher, a 12-gauge shotgun, ammunition and nine high-capacity rifle magazines.
Source:www.foxnews.com
MERMAID AS METAPHOR (a beginning consideration from forkergirl's temporary fish eye lens advantage)
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fish eye lens advantage image from forkergirl's photostream
In this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.
This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.
A cautionary tale, to be sure. A scientist accused of playing God to be sure.
Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).
In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.
If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:
The common mermaid is uncomplicated, unproblematic in biological terms. She (usually) looks good,
and, in keeping with her fish contribution, is an excellent catch.
Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.
It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.
Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?
In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.
fish eye lens advantage image from forkergirl's photostreamIn this consideration of Mermaid as Metaphor, a point of entry and a point of departure (bifurcation hub) are formed by two elements brought together (in a range of manipulations) forming a third element that is a composite of the two (1 element plus 1 element = a 3rd element [1+1=3], as Rima pointed out in a limited forked multimedia story class). At this hub is a common depiction of mermaids in which two unrelated biological segments of two organisms are brought together in (primarily visual) unification usually depicted as horizontally split halves forming wholeness: a mermaid.
This (visual) wholeness is a form of marriage, an easily imagined evolutionary progression or regression of marriage. Though the one mermaid outcome of wholeness formation is usually offered, there are at least two composites that would emerge from each union in this imagined evolution or regression. Human upper body + fish lower body, and human lower body + fish upper body. This is an answer to where's the other halves? —the human lower body and the fish upper body? An example of this more complete merger outcome scenario supplies the horror factor of The Fly (1958). The human/fly hybrid is created when a teleportation experiment meant to be an exclusively human teleportation experiment becomes a human/insect teleportation experiment when a fly is discovered inside the teleportation chamber with the scientist when the experiment is already underway and no one is there to stop the experiment. Though the human/fly hybrid is an unintended outcome, that the hybrid is an outcome indicates a form of successful, if horrifying, biological union. The film features both composite forms: human body with fly head/hand and fly body with human head/hand. Once the hybrids emerged, the assumption was that capturing the fly body/human head composite and repeating the experiment with both hybrid outcomes in the chamber, would restore the human and the fly to pre-composite forms though other possibilities would have been as likely had the fly body/human head variation not been snared in a web of spider for whom the genetic modifications of the humanized insect changed nothing.
Though I hesitate the use the term, this serves, in part, as a, well, deconstruction of the mermaid metaphor. It is a closer look inside what is and isn't occurring in the architecture of the metaphor that a mermaid is, and simultaneously is an invitation to explore what can happen/is happening inside other metaphors, using the outcomes of those explorations to establish other opportunities and forms of expression: the making of other poams (products of acts of making).
In popular depictions of mermaids, biological segments contributed by the human and by the (unspecified species of) fish seem interchangeable, largely because each segment apparently remains intact with crossover of fish into human, human into fish. The fish and human portions of a mermaid hybrid system could be separated easily. It is obvious where to cut. The human and fish segments seem closed systems stitched together (or in some other way held in place) superficially. The forming of human/fish composites seems exceedingly neat with a well-defined boundary separating fish function and appearance from human function and appearance. No transgression of species apparently occurs; nothing, well, fishy in the merger. Mermaids, rather, seem models of respect for species purity despite their being linked. No tinkering with the actual DNA as human DNA and fish genetic code don't mix, but instead exist side-by side. Good neighbors who share much, but not everything. Good spouses who share much but not everything.
If a deeper connection is considered, the external division and separation of fish and human raises questions about function, form, and layout of internal organs. Just how is the mermaid metaphor creature mapped internally? Surely anatomical mingling occurs, or it is difficult to imagine viability of this trans-species as a species distinct from human and fish with its own biological frameworks and systems; the fish, in the more frequent ichthyological bottom half mermaid configuration, would have no heart, no brain, no circulation of human blood in fish areas. If the halves are stitched together superficially and not integrated into a single being, each half would then need separate and contained systems of respiration, systems of ingestion, systems of excretion, etc. A romanticized depiction (and why not such a depiction!) of mermaids does not support contamination of the beautiful, usually, woman, with fishiness. Indeed, the mermaid might even be a purer form of woman for rejecting genitalia in favor of fishtail; with breasts, she may suckle a child and could even seem, depending on who's constructing the idea system, nearly as wholesome and good as Mary, Mother of Christ. In this wonderful anatomical chart (to the right) of a mermaid from gearfuse.com, the internal revelation is still decidedly human in keeping with the biological structure of most mermaids; no doubt a common or typical mermaid is dissected in the well-imagined image of mermaid reality wherever it exists, in imagination, gaming, and/or virtual worlds, for instance. Mermaid Diaries is a blog all about a little mermaid named Natalia Zelmanov and her adventures in second life. Below is a video of a Spore mermaid followed by a video of a Second Life mermaid show:and, in keeping with her fish contribution, is an excellent catch.
Consideration of shared biological functioning is not meant to discredit the mythic or aesthetic function of mermaid systems, and certainly does not undermine an ability of imagination to overcome problems of mermaid existence within shared physical realities. That closed biological and chemical systems can align themselves without sharing structures or circulation, may give a nod to some of the power of imagination as part of the glue maintaining the human/fish alignment. Not that everyone can (or should) use imagination in tis manner; what I refer to as imagination may be referred to differently in other cultural and/or belief systems that configure reality differently, including religions in which what some might consider supernatural is real; prayer connects a human mortal reality with a divine system of existence; prayer and belief function as bridges between these configurations.
It is quite odd, I think, that more mingling apparently does not occur at the juncture of fish and human in a mermaid system of co-dependency to be one being, one creature; why not more raggedness as these halves struggle to come together? In the production of mermaids, if something is occurring biologically, why not more evidence of mutation in the manipulation of humans and fish to produce mermaids? Where are the failures? Where are the monsters of human/fish alliances? Where are the other creature from black lagoons (gill-men) and other evolutionary missing links along the evolutionary road to mermaid? What is it about certain environments that seem to encourage emergence of human/fish hybrids? So much perfection! —similar, it seems (sorry for a lack of statistics) to a rate of perfection in production of angels or other beings embodying some human elements and some divine elements. Something in imagination apparently overcomes potential conflict in human and fish unions —did not George W. Bush say that he hoped the human and the fish could coexist peacefully? In configuring scenarios of this coexistence, some of that peaceful cohabitation would exist within a single body, half human, half fish; the bi-species creature practicing a form of political correctness in blending —indeed, Bush's statement could be construed as a call for transspecies experimentation, phase one focusing on human and fish peacful coexistence scenarios.
Had W seen Shiloh Pepin on a Discovery Channel documentary (Mermaid Girl) when he said that?
Did he realize that there was such a condition as sirenomelia, that humans were sometimes born with their legs fused in a disease commonly called mermaid syndrome, a challenging coexistence that might look peaceful? What hope for the future of humans did he foresee in improving human/fish coexistence? What's in that enhanced coexistence for Americans? for democracy? for capitalism?
In written metaphor also things come together with suspicious ease, perhaps in part because of familiarity with a long history of mythical part human creatures from ancient, classical, and sacred texts ; indeed, even Jesus Christ is a half-human outcome of a human/divine union. Evolutions occur inside metaphor; there is a journey from something to something, and details of the journey are seldom mapped. Mapping of what occurs inside metaphor could be quite revelatory and could lead to other revelatory forms of making, thinking, and/or understanding. To the left, Gort becomes The Stig, and to the right, Sambo becomes Obama in two metaphork evolutions by forkergirl. Much, much (compelling and exciting, among other forms of work) remains to be done.
This is actually a response to David's DJ Shadow post down there but the comment wouldnt allow my video
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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.
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.
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
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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.
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.
"You are mathematical. You don't have to do math; you are math." -Thylias Moss
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Here's a little math I can get with:
“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry Pratchett
Also, I may consider a side-gig in thaumaturgy.
Yes. I think I may.
“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson
Here's a little math I can get with:
“A Thaum is the basic unit of magical strength. It has been universally established as the amount of magic needed to create one small white pigeon or three normal-sized billiard balls.” --Terry PratchettAlso, I may consider a side-gig in thaumaturgy.
Yes. I think I may.
“I believe anything is possible.
Research into quantum physics
proves that a system changes
simply by someone observing it.
Therefore, all you have to do is be
awake and aware of your environment,
and that enables you to
transform everything around you.
It sounds like hocus pocus, but
scientists are coming to realize that
just thinking about something can
make it happen. Turns out maybe
faith can move mountains.”
--Christine Anderson
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