A Limited Fork Theory video poam (product of an acts of making) that investigates simultaneity through video convergence of multiple tines of information that exist in multiple forms: printed text, video, sound. The video poam reveals the moment of collision of the multiple tines, explores some of the warping and upheavals of colliding as a form of convergence.
Poam instead of poem, by the way, so as to not limit form with prescriptions of inclusion and exclusion long associated with poetry. Learn more about Limited Fork Theory at the Institute for 4orkological Studies (http://www.4orkology.com).
In this investigation of simultaneity, a scan (with a USB microscope) of the text poam (poem) "The Culture of Snowmen" from "Tokyo Butter" by Thylias Moss is paired with video information from a visit to the farm animal building of the CNE (Canadian National Exhibition) in Toronto where I serendipitously found that a very active ostrich had become the object of fixation and attraction of a very strange man who seemed alien-like in his ability to move on a time-scale much slower than (relative to) the time scale in which everyone else was apparently immersed. This man advanced toward the ostrich pen at about 5 centimeters per ten minutes during the hour of my observation (an hour rippled or warped through interaction with other information tines participating in this video convergence).
The man throughly under the spell of the ostrich of his addiction, in his whiteness (shirt, hair, face) and his relative immobility, the fixed nature of his trance, easily participated in a metaphor linking him to snowmen; he represented, in the interaction (metaphor is a form of interaction, of course) an evolved form of snowman.
The text of the print poam was recorded into a sound poam, modified by participation in the interaction, that joined ambient elements from the ostrich event at the CNE to form the soundtrack of the this video poam.
As fabric of space, time, purpose, idea, and imagination converge, there is a warping of contributing information; tines are reconfigured into the pattern of this new (and temporary) convergence in which a new form of information or understanding may be accessed.
Though the video record or documentation of the convergence persists, the actual moment in which the convergence happened is not (yet) available for direct re-visitation. The participants of the convergence have separated, and continue along paths in that separation, interacting with what emerges for interaction on those paths.
Those who interact (temporarily) converge with the video record are subject to influence from temporary parnership with the video record. Interaction can mark, exert some modicum of change, on participants. Some evidence, anywhere in the range from the barely perceptible to the profound, of having interacted may persist in that which interacted. Some form of encounter memory. The underlying principle of this idea of encounter memory has implication and practice well beyond this more aesthetically investigative approach, such as those researching evolutionary memory in which inactive genes from a much earlier time in a species evolution may be activated, producing ancestral or historic traits no longer produced when those genes are turned off during embryonic development.
Loading...
1:59
RENDER, RENDER a poem by Thomas Luxby Motionpoems942 views
Link to this comment:
All Comments (0)