Anti-luxury

Good design and the economy of sharing.

Whitewall Magazine. “Jasper Morrison: The Minimalist”

WW:Why do you think design should be democratic?

JM:The best atmosphere and the most beauty can be found in everyday situations. I’m not at all interested in the idea of luxury. The idea of enjoying something that excludes others is terrible, isn’t it? I think luxury was invented for people with no better way of enjoying life than feeling superior to others. As a teenager I was traveling on a train one day, somewhere in France or Italy, and an old man got out his lunch and offered me a glass of wine and a piece of bread and cheese. That’s the kind of spirit design should offer, not conversation pieces for the dining table.

Celebrating the quotidian and the shareable. Yet there is a tinge of romanticization here that is a little off-putting. Cork in the wine?

And so for day 1402
15.10.2010

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Trade Routes: cherchez la femme

Elizabeth A. Wilson. Neural Geographies: Feminism and the Microstructure of Cognition.

points to

Vicki Kirby. “Corpus delicti: the body at the scene of writing” in Cartographies: Poststructuralism and the Mapping of Bodies and Spaces. Eds. Rosalyn Diprose and Robyn Ferrell.

points to

Alison Ainley. “‘Ideal Selfishness’: Nietzsche’s Metaphor of Maternity” in Exceedingly Nietzsche: Aspects of Contemporary Nietzsche Interpretation. Eds. David Farrell Krell and David Wood.

points to

Donna C. Stanton. “Difference on Trial: A Critique of the Maternal Metaphor in Cixous, Irigaray and Kristeva” in The Poetics of Gender Ed. Nancy K. Miller.

points to

Naomi Schor. “Female Paranoia. The Case for Psychoanalytic Feminist Criticism”. Yale French Studies 62: 204-19 issue on “Feminist Readings: French Texts/ American Contexts” reprinted in Breaking the Chain: Women/Theory, and French Realist Fiction.

And so for day 1401
14.10.2010

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Let Us

The image is from a greeting card copyright 1981 with the following credits: created by Scott Alyn and artist June Wood. The card came with seeds.

greeting card - lettuce never part - pun

The punning didn’t stop at the cover. Inside were planting instructions:

Lettuce Seeds

Plant me 1/4 inch deep in early spring and every few weeks as long as weather is cool. Rows should be 15 inches apart. And remember…. “Eat more lettuce. Get Ahead!”

Of course the entire crop could bolt in warm weather. Planting early leads to good head — at least in the domain of iceberg lettuce.

And so for day 1400
13.10.2010

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Crystallised Thaw

Helen Humphreys has assembled forty plus vignettes about The Frozen Thames. Each story is unique and the time spanned goes from the actual 1142 to the virtual 1927 (the Thames didn’t freeze that year but Humphreys supplies an intriguing postscript based on lines in the draft of Woolf’s Orlando, lines not to be found in the published novel).

1809 gives us the tale of the boy, a miller’s son, who revives birds. Humphreys leaves us with the image of the boy telling his story in years to come.

The ice birds fell from the sky, he will say when he tells the story. I breathed fire back into their bodies. My hands were an oven that warmed them. I set them to flying again.

So much motion in the stasis of a telling.

And so for day 1399
12.10.2010

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Aperitifs and Day Rise

After work, prior to supper.

Happy Hour

Cinq à sept

Beer for breakfast (common in centuries past). A champagne breakfast (a lovely weekend starter).

And the Italians triumph with Caffè corretto taken I presume at anytime.

And so for day 1398
11.10.2010

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Dog Gone Bow Wow

Repetition of variants as means of construction. Rift on Riffaterre

According to Michael Riffaterre, the poetic text is structured in such a way that it repeats many variants of the same invariant. This invariant is the semantic nucleus of the text, to which Riffaterre eventually gives the name “hypogram”. The hypogram, which determines and generates the written poem, is an important index in understanding the poem. We can find the hypogram of a text by bearing in mind the various rules governing its creation: overdetermination, conversion and expansion.

Text Derivation by Johanne Prud’homme and Nelson Guilbert
http://www.signosemio.com/riffaterre/text-derivation.asp

Nicely introduces this dog-themed verse

gaudy, dog-eared doggerel
before you get the gaybies,

before becoming smitten —
bitten by the bitch’s wit

From the concluding lines of Andrew Eastman’s “Dog-and-Pony Show” in Contemporary Verse 2 (Vol 38 No 1).

Another bone … the beginning of the “Doggerel” entry from The Princeton Encyclopedia of Poetry and Poetics (4th edition)

DOGGEREL (original unknown). Rough, poorly constructed verse, […] Northrop Frye has characterized doggerel as the result of an unfinished creative process […]

And the tail wags …

And so for day 1397
10.10.2010

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Trans-Species

Sandwiching an excerpt from Penn(y) Kemp between two quotations from e.e. cummings

when the oak begs permission of the birch
to make an acorn

June 8: I’m at a cocktail party of poets. I look down and realize I haven’t shaved my legs. Fur is growing over my ankles and feet. I continue chatting, wondering if anyone will notice. What am I becoming? The carpet is a moss bed of green fur.

(at the magical hour
when is becomes if)

The piece from Penn(y) Kemp is from a poem entitled “Dreams While Reading Gimbutas’ Goddesses and God of Old Europe” in Eidolons and we are struck by its concluding image: part vegetable, part animal and wholly imaginary.

And so for day 1396
09.10.2010

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Artificial Intelligence and Taste

In the fall in Toronto there are a number of book sales where one can come across gems that one had always wanted to read but failed to pick up in some trip to the library. One such volume came my way the other day: Adrienne Rich. Snapshots of A Daughter-in-law and what attracted my attention was a poem entitled “Artificial Intelligence”. I had been leafing from the back section and realized that the Notes on the Poems for this particular poem devoted considerable space to quoting from Herbert Simon. And so on to the 1961 poem. The first verse invites readers to imagine contrasting behaviours following a game of chess.

Over the chessboard now,
Your Artificiality concludes
a final check; rests; broods —
               no — sorts and stacks a file of memories,
while I
concede the victory, bow,
and slouch among my free associations.

And so on until the final stanza

Still, when
they make you write your poems, later on,
who’d envy you, force-fed
on all those variorum
editions of our primitive endeavours,
those frozen pemmican language-rations
they’ll cram you with? denied
our luxury of nausea, you
forget nothing, have no dreams.

And at this remote perspective, can we imagine an artificial intelligence roaming the bookstalls and remembering intentions that had been forgotten and reconnecting with texts that had been but glimmers on the attention horizon?

And so for day 1395
08.10.2010

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Muscle Messages

This is a speculation set up by Alphonso Linguis (“Orchids and Muscle” in Exceedingly Nietzsche) through the thought of Leroi-Gourhan. See how it all pivots on the placement of the expressive function.

In the human primate, a distinctive reflexive circuit was set up with the evolution of the hand. The human species began by putting the cutter, chopper and grinder functions of the jaws into its hands. The front legs no longer serve to drive the jaws to make contact with the world; they rise from the ground and conduct samplings of the world to the head. The human animal now acquires a face. Its muscular configurations no longer react immediately to the front-line of contact with external nature, but turns to its own hands. A smile and an apprehensive grimace now become possible — movements that are expressive, that is, that address a sample, a representative of the independent exterior held in the hand — and soon, held with a mental grasp before an inner eye. An animal that faces considers representations it has apprehended. Its manual musculature comes not only prehensile but also expressive; the hands position their take for an appraising eye. They address themselves also to the eyes of another animal that has acquired a face; they speak. Little by little our whole musculature has learned to speak. The throat muscles designed for devouring and for expelling substances and the body’s own biles and rages now learns from the hands how to shape the samples and representatives of the outside, how to exteriorize the comprehensive expressions the hands first learned to make. The whole torso becomes organs-to-be-seen, the abdomen struts and cowers, the legs and thighs acquire humility and pride, the shoulders and back, turned from the face-to-face circuit, sway with resentment and defiance.

This is a rather poetic take on human evolution. One that I would like to have known when I turned my attention to the senses and their communicative potential

The human senses, whatever their number and relations, produce events. Events can be connected. This production of events can be experienced, can be induced, can be guided. Memory plays a major role in this process. Attention can be alternatively devoted to percept and to the act of perception. The possibilities for metacommentary are connected to the possibilities for memory. Cognitively this allows humans to preserve the trace of something happening at a certain time. Events connected in a series of episodes lead to narratives. The transformation of discrete somatic signals into sequences begins to explain cross-modal encoding.

http://homes.chass.utoronto.ca/~lachance/S6C.HTM

If simply put we early on learnt that how we perceive is communicated to others then the dynamo of self-reflexivity and metacognition could not be far behind.

And so for day 1394
07.10.2010

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Roulette: Icon Index Symbol

Terrence W. Deacon summarizing Pierce in The Symbolic Species

No particular objects are intrinsically icons, indices, or symbols. They are interpreted to be so, depending on what is produced in response. In simple terms, the differences between iconic, indexical, and symbolic relationships derive from regarding things either with respect to their form, their correlations with other things, or their involvement in systems of conventional relationships.

One example comes to mind: the figures designating public washrooms. In one interpretation they are an icon depicting gender formations, in another interpretation they indicate the facility is just behind the door and finally they can be interpreted as part of a symbol system.

And so for day 1393
06.10.2010

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