Roaming The Discussion Starter

OMEP – Organisation mondiale pour l’éducation préscolaire

From the front section of a pamphlet (French and English vocabulary list with definitions) printed in Britain.

Discussions are a most valuable part of OMEP World Assemblies. For the 1961 VIIIth World Assembly in Zagreb a vocabulary for use in discussions about child development was printed in OMEP News Letter No. 4. National Committees then made suggestions which have been incorporated in this vocabulary for the 1962 IXth World Assembly in London.

No one has to accept any definition given here. But if in discussion another meaning is given to a word, then the different meaning should be defined.

The front cover illustrated by Gillian, age 7.

English and French Vocabulary - OMEP - cover with illustration by Gillian Age 7

And now the found poem:

Temper tantrum
Self-discipline
Rêverie

Daydreaming
Auto-discipline
Accèss de colère

Mais si, dans la discussion, on désire donner à un terme un sens autre que celui du lexique, il y aura lieu de le préciser.

And so for day 1003
11.09.2009

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The Age of Reading

I love the ecological turn of mind. And in the recapitulation the earthworms are left behind. And in so being taken on an aura of their own.

A nonmaterial definition of the book comes hand in hand, it seems to me, with a nonmaterial definition of reading. In the widest sense, I think the term simply means paying attention to what’s in front of you and trying to make sense of it. Fish do this as they swim through the water. Birds do it as they fly through the air or sit in the trees or on lamp posts waiting for breakfast. Earthworms do it as they poke through the sod, and I do it, not only in the library but also when I’m listening to those birds or looking at the water and thinking about those fish. This foundational kind of reading is much older than the oldest protoliterate inscriptions, older than human language, older than the first, nameless primates, climbing around in the trees of northern Africa some sixty million years ago.

from Robert Bringhurst What is Reading for? (RIT Cary Graphic Arts Press, 2011)

And so the earthworms continue to produce casings just as they did eons before I or any of my ancestors learned to read. But we are relatives, “Earthworms … and I…” and it is a profound type of kinship.

And so for day 1002
10.09.2009

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Unfolding

From the best lines one can construct a found poem only to entice reader (using the best bait) to find from where these morsels have been captured and gathered.

dry as dream-water

Its last sound folds
into the origami air

Home hooks in our ribs
and hurts when we breathe

from Lyn King Walking into the Night Sky whose poems are paced very much like pulses she places in the figure of the travelogue body and its metaphorical comings and goings. One is tempted to uncrease, to rewind, and travel backwards.

Home hooks in our ribs
and hurts when we breathe

Its last sound folds
into the origami air

dry as dream-water

The poems appear to have a sequence and then when read in reverse order seem to call again to the reader to the moment poised when a universe opens up from a slight stem of words. She has captivated us from the italicized proem which both invokes and describes: “Awake, what unfolds from earth / brown veins bleeding green is / called a tree“. And many of the poems offer a migration as transformation and in most one finds some dendrological dream matter to condense into our own transmutations and to adopt via metaphor a peculiar way of seeing and sensing the world and words. Like leaves set free.

And so for day 1001
09.09.2009

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Never Speaking of Worldly Matters

Martin Buber Tales of the Hasidim: The Early Masters translated by Olga Marx (New York: Schocken Books, 1947) pp. 216-217

When Rabbi Levi Yitsak came to Nikolsburg to visit Rabbi Shmelke who had taught him the way of fervor when he was young, and whom he had not seen in a long time, he went into the kitchen, covered with his prayer shawl and with double phylacteries on his forehead, and asked Rabbi Shmelke’s wife — on this very first morning — what dishes were being prepared for the noonday meal. His question, though rather surprising, was answered. Then he went on to ask whether the cooks had really mastered their art, and other things of the same sort. Rabi Shmelke’s disciples, who heard of this, took him for a veritable glutton. He, however, now entered the House of Prayer and — while the congregation prayed — began to talk to an utterly insignificant man, despised by all, on quite unimportant worldly subjects, as those standing near could determine. One of the disciples could not bear to observe such behavior any longer and said roughly to the stranger: “Silence! Idle chatter is forbidden here!” But the rabbi of Berditchev paid no attention to him and continued his conversation.

At the midday meal, Rabbi Shmelke greeted him joyfully, bade him sit at his side, and ate from the same bowl as he. His disciples, who had heard of the curious manners of the visitor, marked these signs of favor and friendship with sullen surprise. When the meal was over, one of them could no longer suppress his annoyance and asked his master why he showered honors on so empty-headed and impudent a man who had behaved in such and such a way. The zaddik replied: “In the Gemara we read: ‘Rab (Abba Areka), for all the days of his life never spoke of worldly matters.’ Is this praise not strange? Does it indicate that the other masters spent their time in wordly talk? Can nothing worthier be told of Rab? The meaning is this: Whatever worldly affairs he discussed with people in the course of the day, each of his words was, in reality, filled with secret significance and a secret purpose, and made itself felt in the higher world; and his spirit remained steadfast in such service all day long. That is why our sages have accorded him praise of which none other was found worthy. what others could do for only three hours, after which they sank from this level, he could do throughout the day. And the same is true of Rabbi Levi Yitzak. what I can do for only three hours, he can do the whole day through: concentrate his spirit, so that it makes itself felt in the world of Heaven, even with talk which men consider idle.”

Being neither devout nor agnostic, I still find this story enlightening. It shows a path of being present in the delivery of words and equally attentive in the hearing.

And so for day 1000
08.09.2009

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Think Forget Replay

I first came across his critical writing (a review of sorts of books by Steve McCaffery). And then I went cruising. And found this nugget.

Again. Writing is an aid to forgetting.

For those of us fastidious about words writing is
a way of getting some of them out of the head in
order to make way for new experiences.

Without writing we’d hold on to words at the
expense of those experiences which happily (at
times) give rise to them.

Writing is letting go.

To write is to let go.

Writing is a way of getting younger.

(It’s a way of getting younger so that we can
age.

Gracefully.

Gracelessly.

Or otherwise.)

from Alan Davies This Is Thinking
http://www.fauxpress.com/e/davies/p5.htm

I do like that elegant degradation at the end — it almost looks like repetition and then you see it is a way of making a plurality of possibilities emerge from a stark dichotomy. It’s a trick worth remembering even if it is in the service of forgetting.

And so for day 999
07.09.2009

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Hyacinth Scent and Sense Making

from a while back, a letter full of speculations and musings…

Dear Friend,

Very last day of the month: time to sneak in under the wire a report some disjecta and let you know that I have continued to meditate on the theme of experience and expression.

First, the hyacinth is blooming and the smell of the six or so plants in the garden is heady. It is a temporary phenomenon all the richer because of its transiance.

Second, I found myself considering what I am inclined to call the forgetting of narration. I have observed in some examples of critical discourse that there is a tendency to speak in terms of many narrations and a single narrative. If a phenomenological perspective is introduced then narrative is not seen as a single and unique object of thought (or experience) but as the product of agreement between subjects. The diagram of a diegesis is no less a narration than the many words or images that also give access to similar constructions.

It is by agreement that we produce the same story, an agreement renegotiated at every telling.

The same story is always a new agreement. Recall children wanting to hear a favourite story with all the noises and gestures that produce the sense of the familiar. It is a language trap to insist that what returns is the same. It is familiar.

No two cups of tea taste the same yet they are recognized as cups of tea and even tea of the same flavour (but with a wee difference in the intensity due to slight shifts in steeping time).

I have been propelled to this nominalist realization of the instability of any given entity called a “narrative” by recalling a question that Professor Fitch asked at my defence so very many years ago. His question was about Ingarden’s notion of concretization. My answer then makes more sense now: a rereading produces a different concretization. Of course some readers would set concretization on the side of narration and a narrative on the side of some unchanging structure. But the structure itself is malleable. Its stability, a function of our agreements.

In Saussure’s Cours there is an illustration (referenced by Barthes in Elements of Semiology) where there are two flows and samplings from each. Below is a typographic transcription

===== < ====== > =====

………. < ……. > ……..

The famous aribitrariness of the sign is a relation between samplings. The signified is as much an incision into a flow of matter as is the signifier. All this seems rather obvious to anyone that understands the semantic field to be dynamic. If the pair narration/narrative is isomorphic with the pair signifier/signified, the slippage that is perceived in expression/experience is built in to how humans process the relations between language and reality.

And language is a part of reality.

Third of the disjecta, all these musings on the intersubjectivie nature of the stability of narrative as object of thought or experience came after a lecture by Martin Lefebvre to the Toronto Semiotic Circle where he quoted Peirce to the effect that “every fine argument is a poem or a symphony” and outlined a scheme where habit mediates between chance/origin and necessity/telos. This is getting long and convoluted. The following is very sketchy.

involution is not equivalent to self-reflexivity

involution produces a copy of the world in a given state which becomes the base state to compare subsequent states [This is similar to how a computer’s central processing unit keeps a copy in active memory to work upon — the model can be applied to the act of reading. In my thesis way back when I briefly touched upon the notion of involution in a quick look at the similarities between the semiotic square and the mathematical object called a Klein group. This in the context of positing the semiotic square as a machine…]

Someone somewhere may have already introduced the notion of states into possible world semantics. This might just give access to a poetics of impossible worlds. Impossible worlds are games (considered as moves between states). A focus that might interest those in searching to bridge the ludology versus narratology in gaming studies.

Of course I’m left with questions to ponder: How does, if it does, the pair world-state map onto the pair narrative-narration?

And so I take time to breathe and smell the fleeting hyacinth.

30.04.07

I am still intrigued as to how far one can push the world-state mapping.

And so for day 998
06.09.2009

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T Fused to R

A specimen book from Gaspereau Press.

Cover of Gaspereau Press catalogue

Pure genius in how Poety and Poery swim out of sight of Poetry.

And so for day 997
05.09.2009

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Monument to Ritual via TV Dinners

I hope I am setting this up appropriately for you to enjoy the splendid moment. The narrator in Robert Glück’s “Everyman” anthologized in Men on Men 4 receives from the widow of a neighbour a stack of frozen dinners which were destined for the now deceased neighbour. They sit as a stack in the narrator’s freezer for a while. Until …

Every night the monument turned into a ritual by entering my body. I consumed his distinctions where before I had seen none, just an unknown expanse of bright utopian images to appeal to the stranger passing the frozen food compartment. To make wild assertions: to say I prefer Stouffer’s Pizza Chips to Birdseye’s Pizza Wraps. To eat Mac’s food which was anyone’s food — a generic confrontation with salt, oil, too sweet, pumped up with flavor, empty and exciting, a little sensational. I was not anguished. Perhaps I ate his food with greater awareness of the moment, a curiosity that floated on the moment, an expectation that deepened the silence (I say silence although the TV was on, was on, was on). In that way I mourned for Mac.

This is a tour de force mixing the commercialism of brand names with personal anecdote. It could be anyone. Everyone. Yet it is no one. They are gone.

And so for day 996
04.09.2009

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Hearing, Emotion and Multimedia

First a little text to consider:

Anthony Storr, in Music and the Mind, talks about the close link between hearing and emotions. He points out that hearing is much more closely related to emotions than vision is. If we see a wounded animal or person, he says, we are never as moved as we are if we hear the animal or person’s anguished screams with our ears. He theorizes that the strong link between hearing and feeling may be related to the fact that we can hear before we can see, as the sense of hearing is developed in the womb early, before the sense of vision is formed.

from Beverly Biderman, Wired for Sound (Toronto: Trifolium Books, 1998), pp. 25-26.

Next, a couple of questions for multimedia students:

  • Consider your use of sound and images in an opening sequence. How much of your design is currently affected by your training and technical know-how?
  • What is the role of ambient sound in your project?
  • Is the relation between moving and still images similar to the relation between sound and images?

And so for day 995
03.09.2009

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Whose Idea of Who?

The Edward Curtis Project: A Modern Picture Story. Marie Clements and Rita Leistner.

In the play by Marie Clements there is a moment when two women are conversing. They are sisters from a mixed marriage; one is brown skinned and the other looks white. The two characters are looking at a family portrait of one of the sister’s children and her estranged husband.

Dr. Clara
I’m finally going to ask him for a divorce.

Angeline
I’m sorry …

She backs away slightly and looks at her children.

Dr. Clara
It’s time … we haven’t lived together in years …

Angeline
You still love him? … Or just the idea of him?

She looks at Angenline

Dr Clara
Maybe I still love the idea of us.

Pause. They both look out into the darkness.

I like the ambiguity of reference – she backs away. Angeline? or Clara? Context would in a realist reading ascribe the action to Clara. But the “idea of us” complicates theatrical realism. “Us” could refer to one family unit (husband and children), another (the two sisters) or both. In all cases a certain solidarity is tested.

And so for day 994
02.09.2009

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