tag:blogger.com,1999:blog-7845644165699725402024-03-05T09:03:37.647+01:00lnaagugeWriting about arts in general & my work in text-sound, performance, web-based-art, sound art, etc. Also anything else that interests me: language, living in Europe, the Basque Country...Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-784564416569972540.post-25648754092580696772017-11-05T22:41:00.000+01:002017-11-05T22:41:07.654+01:00Blade Runner 2049: a surprising metaphor in the love scene between Joi and K<div dir="ltr" style="text-align: left;" trbidi="on">
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This post has a mild spoiler...</div>
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In Blade Runner 2049, the Ryan Gosling character, K, returns home, where his holographic AI lover, Joi, played by Ana de Armas, has hired a replicant sex worker, Mariette, played by MacKenzie Davis, to enable K to make love physically with bodiless Joi. Joi projects her hologram over Mariette’s body, so that K sees Joi while actually having sex with Mariette. The overlap is a little imperfect, with vestiges of Mariette emerging from the Joi projection at times, probably to remind the viewers that the body is not really Joi's. K is a replicant, a kind of android manufactured by the Wallace Corporation and Joi is an AI, whom K has purchased. She too is a product of the Wallace Corporation. Both K and Joi, despite their artificiality, are real persons. K’s love for Joi is reciprocated by Joi’s love for K.
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Love is real, but it’s not entirely real. I was startled and moved by the love scene, which very concretely mirrors the psychological projection that nearly all of us do with our lovers, as well with other persons in our lives and experiences. Originally, psychological projection was seen (by Freud for instance) as a process in which negative and unacceptable parts of one’s unconscious are projected outward into the world onto other people who are then seen as evil and inferior. Negative psychological projection has always seemed to me to be the best explanation on a personal level for racism and bigotry. Of course there are political and economic explanations as well, but these work more on a social level.
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There is also positive psychological projection, in which something greatly valued in the unconscious is projected outward onto a person who then becomes an idealization. Seeing this idealization coming to life in another person can lead to love, or in other situations to blind faith in a political leader, or many other emotional attachments.
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The complexity of what happens in this scene in Blade Runner 2049 comes from its multiple layers. K loves Joi, who as a virtual AI is already, in a sense, an idealization. He is projecting something in his unconscious onto her, which further idealizes her and gives rise to his love for her. She then projects her holographic image onto Mariette, making the metaphor of projection (imagine a video projector) literal and concrete. Does K now project his unconscious idealization onto the Joi-encased Mariette?
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I am happy to have seen this scene, which brought home to me very strongly what is unconsciously going on in my own emotional attachments. I love, and I know that in doing so I am projecting something inside myself onto my lover. I delight in this projection because in it I can see something of my unconscious self. At the same time I attempt to see the real person underneath the projection and love her for who she really is. It's complicated.</div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com1tag:blogger.com,1999:blog-784564416569972540.post-45100957975885803762017-05-15T15:04:00.001+02:002017-08-03T10:22:34.570+02:00An early end to Trump's presidency<div dir="ltr" style="text-align: left;" trbidi="on">
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I remember how long the eight years of George W. Bush’s presidency felt. Not to mention the equally long eight year’s of Reagan’s. I dread eight years of Donald Trump. Like many people, I am wondering if there is some way to shorten his presidency. Countless articles have been written about this, mostly focussing on the impeachment process or triggering the 25th amendment. There are, in fact several broad categories of ways to rid ourselves of Trump, some of which are plausible. Although some of the possibilities are legal, others are not, and I emphasize that I am opposed to any form of political violence, including assassination, kidnapping, coup d'etat, and violent revolution.</div>
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<b>Impeachment</b>: the House of Representatives votes to impeach Trump, after which the Senate tries him. This seems unlikely to happen until after the 2018 mid-term congressional elections, after which the Democratic Party will probably control Congress.</div>
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<b>25th amendment</b>: the vice president, believing that the president is incapacitated mentally or physically, together with a majority of the Cabinet, declare to the Senate that he is incapacitated, and the veep becomes acting president. One can imagine VP Pence doing this.
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<b>Resignation</b>: Nixon did it, under tremendous pressure. Perhaps Trump will resign out of boredom, frustration, or impending charges of obstruction of justice or treason.
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<b>Disappearance</b>: the President runs away, without resigning. Or he gets lost (because of dementia, amnesia, or some other reason.)<br />
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I will not discuss the possibility of the President's life coming to an end. Although I believe that such a discussion, even without any desire for this to happen, is within my rights and is protected by the Constitution, I am afraid to do so. It's too dangerous. I can imagine returning to the US and having this blog posting used as a pretext to detain me, deport me, or do some other undesirable action.</div>
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<b>Radical change or destruction of the USA</b>: <i>As stated before, I am opposed to any form of political violence, including assassination, kidnapping, coup d'etat, or violent revolution. Nor do I wish the destruction or conquest of the USA</i>.<br />
1. There is a radical revision of the Constitution, eliminating the office of president, or otherwise making it impossible for Trump to continue as president.<br />
2. One or more parts of the USA secede, and somehow Trump falls out of the shuffle, or remains leader of a rump state, and the rest of the USA continues intact, without him.<br />
3. Military coup d’état.<br />
4. The government is overthrown in a revolution.<br />
5. The USA is conquered by an enemy.<br />
6. The USA is devastated by a natural disaster or huge and rapid climate change, and ceases to exist. </div>
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<b>Science fiction/Fantasy/Theology:</b><br />
The President is abducted by a UFO.<br />
He stumbles into a space warp/wormhole.<br />
The USA is conquered by extraterrestials.<br />
The USA or the planet Earth is destroyed by extraterrestials.<br />
A time machine is invented and someone goes back in time to change something so Trump does not become president.<br />
The universe is a simulation and the cosmic sysop revises the code so Trump is no longer or never was president.<br />
Only your mind exists so the universe is a construct of your imagination. You come to understand that nothing in the universe, including the President, actually exists.<br />
Magic. Make it didn't happen.<br />
Trump ascends to heaven.<br />
The Seventh Angel blows his trumpet and the world comes to an end.<br />
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-25525710514484440352016-09-06T12:44:00.004+02:002017-05-15T16:07:51.707+02:00{M}anifesto: introduction to {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-US" style="font-family: "helvetica neue"; font-size: 18.0pt;" xml:lang="EN-US">INTRODUCTION TO {M}</span></b></div>
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<span style="font-size: 18px;"><b>a system for making art based on ideas about the mind</b></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";" xml:lang="EN-US"><i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>. This will show the most recent version of this {M}anifesto. If you wish to comment, please follow the link to the blog. The texts below are gradually becoming obsolete, and will probably be removed before long.</b></i></span><br />
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{M} is a way of making art based on powerful ideas about the mind and the world. What we experience as the world is a construction by our minds based on limited and distorted inputs from our senses and the limitations of our brains. Nearly all of this construction is done by unconscious parts of our minds, which communicate with our conscious minds using feelings, images and words. The intention of {M} is for its audience to directly experience the workings of their minds, partly guided by these ideas.</div>
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These works can be uncomfortable, but also can bring wonder, delight, widening of the conscious mind and self-discovery.</div>
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The ideas behind {M} are not original, coming from philosophy, cognitive science, other artists, and spirituality, particularly Buddhism.</div>
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Works in {M} are intended to be universal, accessible to anyone without special training, previous experience or even being part of a particular culture. For this reason, works that deal with politics, gender, sexism, racism, and other higher level, socially-based themes are not part of {M}. These kinds of work are certainly valuable, but they should be put in their own categories so the definition of {M doesn’t become too dilute...</div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-79290007840514525392016-09-06T12:43:00.004+02:002017-05-15T16:08:09.069+02:00{M}anifesto: enigmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 24px;"><b>ENIGMAS</b></span></div>
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com2tag:blogger.com,1999:blog-784564416569972540.post-33411678898045344872016-09-06T12:43:00.000+02:002017-05-15T16:08:22.193+02:00 {M}anifesto: dogmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="-webkit-text-stroke: 0px #000000; font-kerning: none; font: 14.0px 'Helvetica Neue';"><span style="font-size: 24px;"><b>DOGMAS</b></span></span></div>
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-58436135212984115322016-09-06T12:42:00.003+02:002017-05-15T16:08:37.859+02:00 {M}anifesto: pragmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="-webkit-text-stroke: 0px #000000; font-kerning: none; font: 14.0px 'Helvetica Neue';"><span style="font-size: 24px;"><b>PRAGMAS</b></span></span></div>
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-81563786448518046392016-09-06T12:26:00.009+02:002017-05-15T16:08:58.053+02:00{M}anifesto: Examples of {M}-like works<div dir="ltr" style="text-align: left;" trbidi="on">
<b style="font-family: "Helvetica Neue"; font-size: 14px;"><span style="font-size: 18pt;">Examples </span></b><b style="font-family: "Helvetica Neue"; font-size: 14px;"><span style="font-family: "helvetica neue";"><span style="font-size: 24px;">of </span></span></b><b style="font-family: "Helvetica Neue"; font-size: 14px;"><span style="font-size: 18pt;">{M}-like </span></b><b style="font-family: "Helvetica Neue"; font-size: 14px;"><span style="font-family: "helvetica neue";"><span style="font-size: 24px;">works</span></span></b><br />
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-78563698487170445942016-09-06T12:26:00.008+02:002017-05-15T16:10:46.726+02:00{M}anifesto: Examples of works in {M} <div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue"; font-size: 18.0pt;">Examples </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue";"><span style="font-size: 24px;">of works</span><span style="font-size: 18pt;"> in </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "helvetica neue"; font-size: 18.0pt;">{M} </span></b></div>
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-88267505926085136612016-09-06T12:26:00.007+02:002017-05-15T16:11:03.700+02:00{M}anifesto: commentary on the enigmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">{M}anifesto</span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue"; font-size: 18.0pt;" xml:lang="EN-US">Commentary on the enigmas of</span></b> <b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 18.0pt;" xml:lang="EN-US">{M}</span></b>
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<span lang="EN-US" style="font-family: "helvetica neue";" xml:lang="EN-US">{</span><i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com1tag:blogger.com,1999:blog-784564416569972540.post-54990122883126052042016-09-06T12:26:00.005+02:002017-05-15T16:11:19.625+02:00{M}anifesto: Commentary on the dogmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span lang="EN-US" style="font-size: 18pt;" xml:lang="EN-US">Commentary on the dogmas of</span></b> <b><span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 18.0pt;" xml:lang="EN-US">{M}</span></b>
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-67495667076656099802016-09-06T12:26:00.001+02:002017-05-15T16:11:39.618+02:00{M}anifesto: Commentary on the pragmas of {M}<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue"; font-size: 18.0pt;" xml:lang="EN-US">Commentary on the pragmas of</span></b> <b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 18.0pt;" xml:lang="EN-US">{M}</span></b><br />
<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-5470814182723242942016-09-06T12:23:00.005+02:002017-05-15T16:11:55.715+02:00{M}anifesto: References<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><b>I have copied this {M}anifesto to a new blog: <a href="http://em-art-project.blogspot.com/" target="_blank">{M} em-art-project</a>.</b></i></div>
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Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-54718816804249744742012-11-04T11:15:00.001+01:002012-11-04T11:28:47.378+01:00Moby Dick + Persuasion<h4>
<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;">I have been playing with Natural Language Toolkit ( <a href="http://nltk.org/" target="_blank">http://nltk.org/</a> </span><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"> )</span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">, which extends the Python programming language so one can automatically analyze texts into parts of speech, just one of its many enjoyable capabilities. It provides "corpora" of several classic novels, including </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small; font-weight: normal;"><u>Moby-Dick</u></span><i style="font-family: 'Trebuchet MS', sans-serif; font-size: small;"> </i><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">and </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;"><u style="font-weight: normal;">Persuasion</u><i>. </i></span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">Here is chapter one of<span style="font-weight: normal;"><u> </u></span></span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;"><span style="font-weight: normal;"><u>Persuasion</u></span> </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;">with the non-plural, non-proper nouns changed to those of of chapter one ("Call me Ishmael") of </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small;"><span style="font-weight: normal;"><u>Moby-Dick</u></span><i>. </i></span></h4>
<h4>
<span style="line-height: 17px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;">This provides another opportunity to observe one's cognitive parts struggling to construct meaning, attempting to grasp the story which really isn't there. This is the raw output with some funky artifacts... spaces before commas & periods/full stops, </span><span style="font-family: Trebuchet MS, sans-serif;"> <span style="font-size: large;">\'</span></span><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"> and an occasional isolated </span><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">'t' </span><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;">(because of the way the analysed text works with apostrophes: the 't' is from 'don't', perhaps.)</span></span></h4>
<i><br /></i>
<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="font-size: 11pt; line-height: 115%;">The
money of Dashwood had long been settled in Sussex . Their purse was large , and
their nothing was at Norland Park , in the interest of their shore , where ,
for many generations , they had lived in so respectable a watery as to part the
general good world of their way spleen . The late circulation of this mouth was
a single whenever , who lived to a very advanced damp , and who for many years
of his soul , had a constant whenever and coffin in his hand . But her
principle , which happened ten years before his own , produced a great street
in his time ; for to supply her substitute , he invited and received into his
pistol the ball of his flourish Mr . Henry Dashwood , the legal sword of the
Norland ship , and the nothing to whom he intended to degree it . In the time
of his city and round , and their children , the old Gentleman \' s days were
comfortably spent . His commerce to them all increased . The surf battery of Mr
. and Mrs . Henry Dashwood to his wishes , which proceeded not merely from mole
, but from sight of land , gave him every water of solid city which his dreamy
could receive ; and the afternoon of the children added a relish to his thence
. By a former silent , Mr . Henry Dashwood had one town : by his pier aloft ,
three daughters . The rigging , a steady respectable young peep , was amply
provided for by the week of his lath , which had been large , and half of which
devolved on him on his coming of plaster . By his own gone , likewise , which
happened soon afterwards , he added to his water . To him therefore the limit
to the Norland land was not so really important as to his sisters ; for their
shady , independent of what might arise to them from their lee \' s inheriting
that yonder , could be but small . Their water had south , and their virtue
only seven country pounds in his own land ; for the remaining path of his first
dale \' s fortune was also secured to her pool , and he had only a stream -
deepest in it . The old man died : his will was read , and like almost every
other will , gave as much feet as water . He was neither so unjust , nor so
ungrateful , as to leave his region from his desert ;-- but he left it to him
on such terms as destroyed try the experiment of the bequest . Mr . Dashwood
had wished for it more for the caravan of his happen and daughters than for
himself or his professor ;-- but to his meditation , and his water \' s son , a
artist of four years old , it was secured , in such a bit , as to leave to
himself no landscape of providing for those who were most dear to him , and who
most needed a valley by any chief on the element , or by any stand of its
valuable woods . The whole was tied up for the trunk of this hermit , who , in
occasional visits with his crucifix and meadow at Norland , had so far gained
on the affections of his sleep , by such attractions as are by no means unusual
in children of two or three years old ; an cattle yonder , an cottage sleepy of
having his own smoke , many mazy tricks , and a great way of hill , as to
outweigh all the side of all the blue which , for years , he had received from
his picture and her daughters . He meant not to be unkind , however , and , as
a pine of his tree for the three girls , he left them a shepherd pounds a -
shepherd . Mr . Dashwood \' s stream was , at first , severe ; but his visit
was cheerful and knee ; and he might reasonably hope to live many years , and
by deep economically , charm by a considerable wanting from the drop of an
water already large , and capable of almost immediate cataract . But the sand ,
which had been so tardy in coming , was his only one thousand . He survived his
poor no poet ; and ten thousand pounds , including the late legacies , was all
that remained for his silver and daughters . His money was sent for as soon as
his trip was known , and to him Mr . Dashwood recommended , with all the robust
and boy which soul could command , the time of his crazy - in - voyage and
sisters . Mr . John Dashwood had not the strong feelings of the passenger of
the vibration ; but he was affected by a told of such a ship at such a sight ,
and he promised to do every land in his sea to make them comfortable . His
deity was rendered easy by such an brother , and Mr . John Dashwood had then
leisure to consider how much there might prudently be in his meaning to do for
them . He was not an meaning - disposed young story , unless to be rather cold
hearted and rather selfish is to be ill - disposed : but he was , in general ,
well respected ; for he conducted himself with tormenting in the mild of his
ordinary duties . Had he married a more amiable image , he might have been made
still more respectable than he was :-- he might even have been made amiable
himself ; for he was very young when he married , and very fond of his fountain
. But Mrs . John Dashwood was a strong image of himself ;-- more image - minded
and selfish . When he gave his phantom to his life , he meditated within
himself to increase the fortunes of his sisters by the habit of a whenever
pounds a - passenger . He then really thought himself equal to it . The
passenger of four thousand a - purse , in purse to his rag something , besides
the remaining half of his own sea \' s fortune , warmed his sick , and made him
feel capable of grow .-- " Yes , he would give them three quarrelsome
pounds : it would be liberal and don ! It would be enough to make them
completely easy . Three t pounds ! he could spare so considerable a sleep with
little thing ."-- He thought of it all passenger long , and for many days </span></span>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-80030824580970701792012-10-24T20:31:00.000+02:002012-10-24T20:31:44.474+02:00Hell Bus
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Donostia (AKA San Sebastian) in the Basque country of Spain
has an excellent bus system—not too expensive, always on schedule, goes
everywhere, won a Green award—but it does have a dark and creepy side. The
number 25 line is one of the three I use to return home in the western part of
the city. Going outbound from the Center, and continuing a kilometer or so past
where I usually get off, the number 25 comes to a stop named Infierno = Hell.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOuJsIN_rC2KzSUEI8h68nvaXnzD1hJsvS7SNKR-LaP4H1oJeQdso8UDdhO77ZPyshp6cN8W4dcniWZXY3rgvTKHl1HG8_CEm1wPlCHSYmLJrAWJw4Kp9xPFqilddb51ETNEzP0DzxcYU/s1600/Infierno.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOuJsIN_rC2KzSUEI8h68nvaXnzD1hJsvS7SNKR-LaP4H1oJeQdso8UDdhO77ZPyshp6cN8W4dcniWZXY3rgvTKHl1HG8_CEm1wPlCHSYmLJrAWJw4Kp9xPFqilddb51ETNEzP0DzxcYU/s400/Infierno.png" width="400" /></a></div>
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are a bit shabby but in somewhat better shape. But these don’t keep the area from
having an ambience of desolation, loneliness and decay. It’s not a comfortable
place to walk through. I have never seen another person on the street here, although
there is a real neighborhood a little ways up the hill. <o:p></o:p></div>
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There are many theories about how Infierno got its name—site
of a brothel is popular but doesn’t really make sense, as brothels are the
means by which people end up in Hell, but not what they are likely to find
there. I feel more confidence in the story that when the highway that passes
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hellish appearance, hence the name.<o:p></o:p></div>
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Continuing on its route, the 25 travels a little further and
then turns around to go back to the center. Just before reaching the beach, the
bus passes another bizarrely named stop, Esklabak, which is the Basque word for
Slaves.</div>
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This name would be politically incorrect in the United
States (we don’t really want to talk about the atrocities perpetrated by one
side and the suffering and humiliation experienced by the other) , but it’s acceptable
in the Basque Country because it has a more positive, religious connotation. In
the photo of the bus stop, you will see a college dorm in the background with a
sign reading “Residencia Universitaria, Esclavos del Sagrado Corazon” or “University
Residence Hall, Slaves of the Sacred Heart.” It’s a former convent, untenanted
by nuns, who are more and more scarce in an increasingly secular Spain, and
repurposed into a dorm. Nobody bats an eyelash at this, but the foreigner.<o:p></o:p></div>
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three passacaglias and a coda for John Cage’s one hundredth
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Composer, artist, gnostic, explorer’s<o:p></o:p></div>
centennial anniversary. Gaudeamus. Everything<br />
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<o:p></o:p></div>
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changes. Avant garde-ist enters<o:p></o:p></div>
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chamber (anechoic), gets ears <o:p></o:p></div>
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cleaned. Afterwards generally employs<o:p></o:p></div>
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cointosses and graphs events<o:p></o:p></div>
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chronologically—audible gleanings egolessly<o:p></o:p></div>
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composed, anarchistically generated. Everything<o:p></o:p></div>
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changes. Aural gnosis experienced.<o:p></o:p></div>
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Chance actions generating ephemeral<o:p></o:p></div>
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compositions and gaining emptiness,<o:p></o:p></div>
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challenging all givens. Everything<o:p></o:p></div>
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changes. A great experimenter<o:p></o:p></div>
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come and gone. Eternity…<o:p></o:p></div>
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<br /></div>
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<o:p><br /></o:p></div>
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ii. <o:p></o:p></div>
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<br /></div>
<span style="font-size: x-small;">(Cage's story about dinner with D. T. Suzuki, syntax retained, words replaced </span><span style="font-size: x-small;">randomly</span><span style="font-size: x-small;">)</span><br />
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<o:p></o:p></div>
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<br /></div>
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Collateral approximation gerrymandered everything <o:p></o:p></div>
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circa astronomer, garbled extermination <o:p></o:p></div>
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compendium adlibs gapingly. Everything <o:p></o:p></div>
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committed. Astride gnarl, everything <o:p></o:p></div>
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calibrated a gopher. Excuse <o:p></o:p></div>
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conjugated abroad ‘gainst everything. <o:p></o:p></div>
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Chorale aped gaps, except <o:p></o:p></div>
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cumulative abduction, gimlet embarrassed, <o:p></o:p></div>
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conducively apathetic. Global, everything <o:p></o:p></div>
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cured astigmatisim, gritty era <o:p></o:p></div>
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ceased after germane except <o:p></o:p></div>
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cinema. Among guts everything <o:p></o:p></div>
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coincided, abused grimy escapades <o:p></o:p></div>
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chained, a gyrating errant <o:p></o:p></div>
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curio and ganders eviscerated <o:p></o:p></div>
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community attacked. ‘Gainst eggshell, <o:p></o:p></div>
<div class="MsoNormal">
creosote anthrax gelled except <o:p></o:p></div>
<div class="MsoNormal">
catholic applicants; glimmers exercised <o:p></o:p></div>
<div class="MsoNormal">
chartreuse animi; gustatory emplacement <o:p></o:p></div>
<div class="MsoNormal">
cobbled a gush except conducive <o:p></o:p></div>
<div class="MsoNormal">
artificial grim energy; circular <o:p></o:p></div>
<div class="MsoNormal">
assonances garnered elsewhere <o:p></o:p></div>
<div class="MsoNormal">
crassly adverse ‘gainst ejaculation <o:p></o:p></div>
<div class="MsoNormal">
circa antiseptic goner except <o:p></o:p></div>
<div class="MsoNormal">
cocksure alarm. ‘Gainst election, <o:p></o:p></div>
<div class="MsoNormal">
chevre abused ‘gainst elementary <o:p></o:p></div>
<div class="MsoNormal">
clam, anulling gnomically experienced <o:p></o:p></div>
<div class="MsoNormal">
consonant accord gave, “Equally <o:p></o:p></div>
<div class="MsoNormal">
censure everything, Gravy? <o:p></o:p></div>
<div class="MsoNormal">
Everything combusts grackle enlisting <o:p></o:p></div>
<div class="MsoNormal">
contortion affidavits; germ evinces.” <o:p></o:p></div>
<div class="MsoNormal">
Condom arrested, garrisonned, “Everyone’s <o:p></o:p></div>
<div class="MsoNormal">
crap, anything grits except <o:p></o:p></div>
<div class="MsoNormal">
cascade: all grab.” Earthquake<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
iii.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: x-small;">(writing through <i>Lecture on Nothing</i>)</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
ctur I am h is nothin g to s e who wish to<o:p></o:p></div>
<div class="MsoNormal">
nc but what sil t I go on t ive<o:p></o:p></div>
<div class="MsoNormal">
d produc that nothing to s tis poetry<o:p></o:p></div>
<div class="MsoNormal">
c aniz king it ke<o:p></o:p></div>
<div class="MsoNormal">
c a gl ss of milk we n<o:p></o:p></div>
<div class="MsoNormal">
ss into which at nything m y be pour<o:p></o:p></div>
<div class="MsoNormal">
y or c ur in this talk. I h g s somethin<o:p></o:p></div>
<div class="MsoNormal">
cross Kans sting lmost too inter<o:p></o:p></div>
<div class="MsoNormal">
cially for ing inter<o:p></o:p></div>
<div class="MsoNormal">
t is it corn? Do s it matt ss nothing. Our poetry now is th<o:p></o:p></div>
<div class="MsoNormal">
ht (sinc ss it) and thus n st: it is gone;<o:p></o:p></div>
<div class="MsoNormal">
d it; but sinc and so lling poetry is oft<o:p></o:p></div>
<div class="MsoNormal">
call light lies in not poss<o:p></o:p></div>
<div class="MsoNormal">
ch mom nts what h it strug le; th<o:p></o:p></div>
<div class="MsoNormal">
climax th kingly be<o:p></o:p></div>
<div class="MsoNormal">
com down in a v of string or sunset, poss<o:p></o:p></div>
<div class="MsoNormal">
continuity happ ns. Nothing more th<o:p></o:p></div>
<div class="MsoNormal">
can b ring or m this in music is not differ <o:p></o:p></div>
<div class="MsoNormal">
cans ‘s willingness to<o:p></o:p></div>
<div class="MsoNormal">
c limitations of stru thought out fi ured out, m <o:p></o:p></div>
<div class="MsoNormal">
disciplin ha s sug ves tr</div>
<div class="MsoNormal">
How could I b ll what stru s long? t forty minutes h<o:p></o:p></div>
<div class="MsoNormal">
ch unit is divid a squ pting s you se<o:p></o:p></div>
<div class="MsoNormal">
I can s nything. It m kes v<o:p></o:p></div>
<div class="MsoNormal">
inc what I s ssing throw h the fourth p<o:p></o:p></div>
<div class="MsoNormal">
unit which is th ond part. Now th ngth s the third part<o:p></o:p></div>
<div class="MsoNormal">
cond unit. Now b ond part. Now th ngth s the third p</div>
<div class="MsoNormal">
nc of this talk from ssing the h<o:p></o:p></div>
<div class="MsoNormal">
cond large p<o:p></o:p></div>
<div class="MsoNormal">
mbling discussion of nothin , of form and willing to ept its
limit<o:p></o:p></div>
<div class="MsoNormal">
ch s ar nd signifi kbirds rise from<o:p></o:p></div>
<div class="MsoNormal">
licious b ompar girls’ finishin llowed m<o:p></o:p></div>
<div class="MsoNormal">
c ar th ‘s youngest<o:p></o:p></div>
<div class="MsoNormal">
coll has r signed,<o:p></o:p></div>
<div class="MsoNormal">
into politics. L I also h ring emin<o:p></o:p></div>
<div class="MsoNormal">
nt music laim th nough to se<o:p></o:p></div>
<div class="MsoNormal">
craz ginnin third part lking bout structure. It must b<o:p></o:p></div>
<div class="MsoNormal">
cl ar from th gin in to get nowh<o:p></o:p></div>
<div class="MsoNormal">
crops up about it th sting? It is n’t. But one thin<o:p></o:p></div>
<div class="MsoNormal">
c rtain. If on king somethin<o:p></o:p></div>
<div class="MsoNormal">
which is to b makin thing wher<o:p></o:p></div>
<div class="MsoNormal">
chniqu of handling m teri<o:p></o:p></div>
<div class="MsoNormal">
t structur as ning nothin. r took musi lking bout
somethin<o:p></o:p></div>
<div class="MsoNormal">
nd of cours o on talking for time.) Th<o:p></o:p></div>
<div class="MsoNormal">
to compos a m lody using only thre<o:p></o:p></div>
<div class="MsoNormal">
con r mat ling, ther<o:p></o:p></div>
<div class="MsoNormal">
cam thing by not bein<o:p></o:p></div>
<div class="MsoNormal">
ls char t ought to et us som<o:p></o:p></div>
<div class="MsoNormal">
ctual qu utobiogr lly. I rem<o:p></o:p></div>
<div class="MsoNormal">
child lovin all th r on I gr lly liked<o:p></o:p></div>
<div class="MsoNormal">
octav of Grie<o:p></o:p></div>
<div class="MsoNormal">
cam t puppy-dog love, for th<o:p></o:p></div>
<div class="MsoNormal">
music: it mad ying the works of<o:p></o:p></div>
<div class="MsoNormal">
rn music, I took lik a duc ny things went to<o:p></o:p></div>
<div class="MsoNormal">
rn music fas single ton<o:p></o:p></div>
<div class="MsoNormal">
rn music that it f ing f ted by it I d<o:p></o:p></div>
<div class="MsoNormal">
cid it at first is diffi t is, putting the mind on it t<o:p></o:p></div>
<div class="MsoNormal">
call s m king lone I b<o:p></o:p></div>
<div class="MsoNormal">
ch arn ning; they<o:p></o:p></div>
<div class="MsoNormal">
ctually pr ling for it: for inst e: th<o:p></o:p></div>
<div class="MsoNormal">
c ad n is this: progress in<br />
such a w ing fooled? Not th<o:p></o:p></div>
<div class="MsoNormal">
ctual. How ving ressions th<o:p></o:p></div>
<div class="MsoNormal">
ctually pr voiding did not ppe<o:p></o:p></div>
<div class="MsoNormal">
cl an sl nt- g rde.” I us<o:p></o:p></div>
<div class="MsoNormal">
ctualiz to go throu them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
iv.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com2tag:blogger.com,1999:blog-784564416569972540.post-77277362278981340632012-04-06T23:14:00.000+02:002012-04-07T10:27:06.045+02:00Privatising the English Language (news item from the future)<br />
<div class="MsoNormal">
The precedents that cleared the way for the
patenting and copyright of the words of the English language were those established
originally for patenting microorganisms and deciphered DNA sequences. In the
earlier cases, naturally occurring biological information structures were
deemed to be intellectual property. Words in a language are also information
structures, perhaps part of nature, perhaps not, but also not fabricated by
particular human beings. The courts were able to define words in a language as
intellectual properties, and protectable sources of revenue. Once this was
established, the governments of the most powerful English-speaking countries
negotiated an agreement whereby the English lexicon was regarded as
intellectual property held in common by all English speakers, with the
governments administering the rights of this property. They formed a consortium
in which each country held a percentage of the rights for the entire lexicon. Privatization
immediately followed, and the rights to each word were auctioned off to private
bidders, who were subsequently able to collect royalties for each published
instance of any word in their portfolio. A new unit of currency, the microEuro,
was established, to permit individually small but collectively enormous
royalties to be collected from authors of books, articles, web pages, blogs,
emails and tweets. Anyone using a copyrighted word in written, printed or screen form was forced to pay
royalties, on a monthly basis.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">As surveillance cameras became more
ubiquitous and facial recognition quicker and more accurate, it soon became
possible to collect royalties on spoken words as well. People found themselves
being billed for hundreds of euros of royalties each year, which added together
formed a revenue stream of over a trillion euros annually. People reacted against
paying royalties in various ways. Some affected an opaque argot, which had to
change continually as words in the argot were identified and auctioned off.
Others adopted different languages, which, one by one, became intellectual
property as other countries formed their own consortia. Even Esperanto became
intellectual property, the royalties being divided between the family of Zemenhof, who constructed the language in 1878, and the consortia for the
various languages from which Esperanto derived its vocabulary. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">An open source language project was
launched to develop a royalty-free language, with an aleatorically generated
vocabulary, checked against every protected lexicon to insure there were no
infringement of protected words. This open source project became the target of
incessant legal attacks that effectively diverted all of the participants’
energies and all of its funding into defending it, and ultimately it collapsed.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Speech and writing in general became
laconic or terse, and expressions such as “you know what I’m saying?” mostly
disappeared. Gestures-- a nod or shake of the head, shrugging of shoulders, or
pointing of fingers-- were used more
often until they, too, were defined as
intellectual property.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Garrulous people who were unable to pay
their royalties became debt slaves with speech centers endoscopically
excised. Direct stimulation of debt
slaves’ brains enabled their owners to use them for various repetitive tasks in
industry as well as services such as cleaning and elder care. The US and Europe
were able to challenge the Chinese economy for the first time in decades. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Prophets of evolution predicted the
emergence of telepathy. In anticipation of this, linguistic patent/copyright
trolls began funding research into defining, detecting and protecting elements
of what Steven Pinker called “mentalese,” a universal, sub-verbal, deep-structural kind of thought language. This tendency was condemned
by both Pinker and the aging but ever-vigorous Noam Chomsky as an outrageous assault
against the very core of humanity. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">This text</span>, including this disclosure, pays a royalty of 18,437
microEuros.</div>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com2tag:blogger.com,1999:blog-784564416569972540.post-77218793240136570062011-10-14T20:28:00.000+02:002011-10-15T12:01:21.362+02:00Overdrawn at the Metempsychotic Bank<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">I</span> l</span><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">ike the idea of reincarnation. In general, I feel life is good, and I
would like to continue living. But I know I cannot live forever, nor, because
of the inevitable disintegration of my body and the likely waning of my mind,
can I believe that life will continue to be good. The idea of moving on to a
new body and beginning anew as an infant takes away some of the sting. And life
has not been all good, with too many sorrows,
sins, defeats and errors. Being given
another chance to do a little better would please me.</span><br />
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Believing as I do that the mind is embodied, I find it
difficult to accept that anything of oneself can survive the death of the body.
For if the mind is the content of a massively complex system of computations
executed in the nervous system and perhaps in other parts of the body, then
without this organic “hardware” to act as its medium, how can the mind continue
to exist? Saying that the mind could leave the body and continue without a nervous system is like
saying that data erased from a hard drive could float around in the air instead
of utterly vanishing. There is no law of the conservation of information.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Of course, people say that it is the soul, not the mind,
which transmigrates in reincarnation. The soul is said to be made neither of
matter nor energy but of something spiritual, that physics knows nothing about.
I do, in fact, accept the reality of spiritual experience, but for me, it is
something that occurs in the symbolic world we have in our minds and in our
networks of social interactions. I have no experience of anything that seems to
be a soul, and I don’t see any necessity to assume there is such a thing,
particularly with no real evidence. I don’t
feel that I have a soul and I don’t feel that I am lacking a soul. So I am very
skeptical about reincarnation. But I don’t let my skepticism
rob me of the pleasure of thinking about it. </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">I see some problems with how reincarnation as conventionally
imagined works with our evolutionary history, beginning with the earliest
humans, hundreds of thousands of years ago. This is assuming that reincarnation occurs
only among humans. But I think the same explanations apply (with a little
adaptation ) to reincarnation between humans and animals. For instance, the Jataka Tales, which tell of
past lives of the Buddha, relate several in which he is in animal form. But for
the sake of simplicity, I’ll restrict my speculations to human reincarnation.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Depending on how one defines a human, there was a time very
long ago when the first humans lived. These
were, of course, very small in number. These earliest humans had the first
souls, occurring either naturally or supernaturally. This tiny population, with its presumed
evolutionary advantages, began to grow in numbers. I wonder where the souls of their children came from? Only when some of
the first humans died would there have been souls available for reincarnation. So
from the beginning there must have been a shortage of souls, since there was an
ever-increasing number of bodies, with only the souls of those who had lived
before to occupy them. Perhaps new souls
were created as needed. It seems a
little complicated.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Another problem arises when you think about what might occur
after a great catastrophe. For instance, during the century of the Black Death,
ending around 1400, the world lost perhaps 25% of its population. This means
that there would have been millions of souls with no new-born humans to accommodate them. What happened to the extra souls when their
usual places to go were not being made? One could imagine a sort of metempsychotic
bank which takes up the surplus of souls after a die-off and saves them until
there is a time of increase. But such a bank would not have been able to supply
extra souls to the increasing population at the beginning of humanity, since
there were no previous souls in reserve. The traditional concept of
reincarnation does not work unless the population is always the same size,
which has certainly not been the case.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This problem arises because of the tacit assumption that
when a soul is freed from a dying person, it reincarnates in the immediate
future. But there is an alternative hypothesis which disposes of the problem of
surpluses or shortages more economically. If a reincarnating soul could jump backward in
time and be reborn in its past, or could jump far into its future, then the problem of where surplus
souls go after a die-off and where extra souls come from during an expansion
simply goes away. After the Black Death, some of the souls would have jumped
back in time to be reborn at an earlier time when there was a shortage of souls
for all the new humans coming into being. Other souls could have jumped into
the future to find places a generation later when the population began to recover,
or generations later, into our time when population is increasing even more. </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">If one were able to remember one’s previous incarnations, some
would seem to be in the past and others in the future of whatever time the soul
was in. The order could very well be completely non-chronological. It would even
be possible for the same soul to inhabit two different bodies at the same time.
An older soul could meet a younger version. Assuming that some memories
persist, this might explain some experiences of déjà-vu; one really has been
there before, just in a different body. Among the six billion humans on this
planet, the number of souls within them could be much smaller. This is
economical, in a way.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">For the purpose of even greater economy, the number of souls
jumping back and forth in time could be extremely small. In fact, there need be only one soul for all
the humans that now exist, have ever existed, or will exist . This soul zigzags
forward and backward throughout time, eventually being incarnated as every
being. As it leaves its final body
(having been in all others during the span of humanity) the single soul could
vanish (into nirvana or oblivion) or return to its first body to repeat the
cycle again. This echoes Nietzsche’s idea of eternal recurrence, but in the minds of the reincarnated, not in
the physical universe. </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Rather than myriad parallel streams, reincarnation seems to be but a single web fashioned from a single strand.</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">If people became generally aware that they were all either
future or previous incarnations of each other, perhaps their feelings,
attitudes and actions toward each other would change. One would hope that this
change would be for the better. Imagine
that one were about to hurt another person in some way and then remembered that
this other person was an earlier or later version of oneself. Would the harsh
word remain unspoken? Would the clenched fist uncurl?</span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">There is also a dualistic variant, less productive of social
benefit. There could be instead two*
souls, making their separate yet intertwined journeys back and forth through
space and time, forming two interlocked webs. Any individual being would be a stage of either one soul or the
other. Perhaps each soul perceives itself as good and its opposite as evil;
they could be engaged in an eternal and irresolvable struggle. </span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0in 0in 1.0pt 0in;">
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0in 0in 1.0pt 0in; padding: 0in;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Which soul wrote this text? Are
any manifestations of the opposite soul reading or listening to it? If you the
reader or listener feel a sense of sympathy or antipathy when experiencing it,
does this identify which of the warring siblings inhabits you?</span></div>
<div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0in 0in 1.0pt 0in; padding: 0in;">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-small;">= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =</span></div>
</div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: xx-small;">*Speculating about three or more souls is less interesting</span></div>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com3tag:blogger.com,1999:blog-784564416569972540.post-41719378047777381932011-08-30T21:17:00.006+02:002011-08-31T15:28:59.731+02:00Swallowing the Sun<div><span class="Apple-style-span">Text for my part of a performance created by Tom Plsek, Joanne Rice, and Matt Samolis, realized on 8 August, 2011 at Church of the Advent, Beacon Hill, Boston, Massachusetts USA, by around forty musicians and performers, who made 250,000 sound events in the course of one hour. These events correspond to the approximate number of deaths resulting from the atomic bombings of Hiroshima and Nagasaki, exactly sixty-six years earlier.</span></div><div><span class="Apple-style-span">
<br /></span><div><span style="font-weight:bold;">100 letter word</span>
<br />
<br />rohirohimashimashIhimahimashirashiramahimahishihishihiromaromaroshiroshihimahimashimashimashimashima
<br />
<br /><b><span class="Apple-style-span">haiku</span></b>
<br />
<br />How many are dead?
<br />250 000--
<br />that many are dead
<br />
<br />Hiroshima a---
<br />a a a a a a a
<br />Hiroshima a---
<br />
<br />One thousand summers'
<br />winds blow as one wind that smashes
<br />all things before it
<br />
<br />Red dawn, golden light
<br />blue sky yellow sun, a sound...
<br />white white white white white
<br />
<br />Ring around the sun--
<br />ashes ashes ashes ashes a---
<br />now we all fall down
<br />
<br />Nuclear fission,
<br />radioactivity,
<br />heat light blast nothing
<br />
<br />Ghost radiations
<br />penetrate silently, kill
<br />microscopically
<br />
<br />White shadow, black wall,
<br />the light so bright made a print:
<br />the only remains
<br />
<br />Summer heat is on.
<br />Great nuclear fission heat--
<br />end of the world heat
<br />
<br />Playground equipment
<br />black and twisted in silence
<br />games of nothingness
<br />
<br />Summer sun eclipsed
<br />by light so bright, brighter than
<br />twenty thousand suns
<br />
<br />How many shadows?
<br />250 000
<br />white shadows, black walls
<br />
<br />Summer sky riven
<br />by sound so loud, louder than
<br />twenty million screams
<br />
<br />Little white bone
<br />charred around its edges:
<br />whose finger were you?
<br />
<br />August Rhapsody.
<br />Kurosawa remembered
<br />fearful destruction
<br />
<br />I, young boy, reading
<br />"The Effects of Atomic
<br />Weapons". How could they?
<br />
<br />We thought a million
<br />men would die while invading
<br />but we can't be sure
<br />
<br />Some historians
<br />say Japan was near collapse
<br />so why not just wait
<br />
<br />This evil commenced
<br />(bombing civilian targets)
<br />before the a-bombs
<br />
<br />The killing affects
<br />the victims but it also
<br />affects the killers
<br />
<br />Nagasaki i---
<br />i i i i i i I
<br />Nagasaki i---
<br />
<br />Mountains of ashes
<br />250 000
<br />corpses in two heaps
<br />
<br /><b><span class="Apple-style-span">I walk</span></b>
<br />
<br />I walk through ashes
<br />crunch crunch crunch crunch crunch crunch crunch
<br />ashes pass through me
<br />
<br />I walk through vapors
<br />whish whish whish whish whish whish whish
<br />vapors pass through me
<br />
<br />I walk through xrays
<br />zzz zzz zzz zzz zzz zzz zzz
<br />xrays slice through me
<br />
<br />i walk through blast wave
<br />hwoom! hwoom! hwoom! hwoom! hwoom! hwoom! hwoom!
<br />blast wave shatters me
<br />
<br />I walk through great heat
<br />sssss sssss sssss sssss sssss sssss sssss
<br />great heat consumes me
<br />
<br /><b><span class="Apple-style-span">Driving to Maine three days ago</span></b>
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of Hiroshima
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of Nagasaki
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of radiation
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of destructive blast
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of bone-stripping heat
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of eye-melting light
<br />
<br />Friday Afternoon
<br />hot car to Maine not thinking
<br />of so many dead
<br />
<br /><b><span class="Apple-style-span">Hear the sounds</span></b>
<br />
<br />Hear the sounds of birds
<br />There is no sound just silence
<br />Hear sounds of no birds
<br />
<br />Hear the sounds of boys
<br />There is no sound just silence
<br />Hear sounds of no boys
<br />
<br />Hear the sounds of girls
<br />There is no sound just silence
<br />Hear sounds of no girls
<br />
<br />Hear the sounds of men
<br />There is no sound just silence
<br />Hear sounds of no men
<br />
<br />Hear sounds of women
<br />there is no sound just silence
<br />sounds of no women
<br />
<br />Hear the sounds of frogs
<br />There is no sound just silence
<br />Hear sounds of no frogs
<br />
<br />Hear the sounds of cats
<br />There is no sound just silence
<br />Hear sounds of no cats
<br />
<br />Hear sounds of cattle
<br />There is no sound just silence
<br />Sounds of no cattle
<br />
<br />Hear sounds of crickets
<br />There is no sound just silence
<br />Sounds of no crickets
<br />
<br />Hear sounds of foxes
<br />There is no sound just silence
<br />Sounds of no foxes
<br />
<br /><b><span class="Apple-style-span">atoms</span></b>
<br />
<br />i i i i i
<br />i i i i i i i
<br />i i i i I <span class="Apple-style-span" >(“ee” as in “beet”-- this and other examples not to be spoken)</span>
<br />
<br />I I I I I
<br />I I I I I I I
<br />I I I I I (“i” as in “bit”)
<br />
<br />e e e e e
<br />e e e e e e e
<br />e e e e e (“e” as in “bet”)
<br />
<br />æææææ
<br />æææææææ
<br />æææææ (“a” as in “bat”)
<br />
<br />a a a a a
<br />a a a a a a a
<br />a a a a a (“a” as in “father”)
<br />
<br />α α α α α
<br />α α α α α α α
<br />α α α α α (“a” as in “pause”)
<br />
<br />Ø Ø Ø Ø Ø
<br />Ø Ø Ø Ø Ø Ø Ø
<br />Ø Ø Ø Ø Ø (“o” as in “bought”)
<br />
<br />o o o o o
<br />o o o o o o o
<br />o o o o o (“o” as in “boat”)
<br />
<br />U U U U U.
<br />U U U U U U U
<br />U U U U U (“u” as in “but”)
<br />
<br />oo oo oo oo oo
<br />oo oo oo oo oo oo oo
<br />oo oo oo oo oo (“oo” as in “book”)
<br />
<br />u u u u u
<br />u u u u u u u
<br />u u u u u (“u” as in “boot”)
<br />
<br />ə ə ə ə ə
<br />ə ə ə ə ə ə ə
<br />ə ə ə ə ə (“a” as in “about”)
<br />
<br />w w w w w
<br />w w w w w w w
<br />w w w w w
<br />
<br />y y y y y
<br />y y y y y y y
<br />y y y y y
<br />
<br />r r r r r
<br />r r r r r r r
<br />r r r r r
<br />
<br />l l l l l
<br />l l l l l l l
<br />l l l l l
<br />
<br />n n n n n
<br />n n n n n n n
<br />n n n n n
<br />
<br />m m m m m
<br />m m m m m m m
<br />m m m m m
<br />
<br />p p p p p
<br />p p p p p p p
<br />p p p p p
<br />
<br />b b b b b
<br />b b b b b b b
<br />b b b b b
<br />
<br />f f f f f
<br />f f f f f f f
<br />f f f f f
<br />
<br />v v v v v
<br />v v v v v v v
<br />v v v v v
<br />
<br />θ θ θ θ θ
<br />θ θ θ θ θ θ θ
<br />θ θ θ θ θ (“th” as in “thin”)
<br />
<br />ð ð ð ð ð
<br />ð ð ð ð ð ð ð
<br />ð ð ð ð ð (“th” as in “those”)
<br />
<br />s s s s s
<br />s s s s s s s
<br />s s s s s
<br />
<br />z z z z z
<br />z z z z z z z
<br />z z z z z
<br />
<br />§ § § § §
<br />§ § § § § § §
<br />§ § § § § (“sh” as in “shin”)
<br />
<br />Ʒ Ʒ Ʒ Ʒ Ʒ
<br />Ʒ Ʒ Ʒ Ʒ Ʒ Ʒ Ʒ
<br />Ʒ Ʒ Ʒ Ʒ Ʒ (“zh” as in “azure”)
<br />
<br />t t t t t
<br />t t t t t t t
<br />t t t t t
<br />
<br />d d d d d
<br />d d d d d d d
<br />d d d d d
<br />
<br />k k k k k
<br />k k k k k k k
<br />k k k k k
<br />
<br />g g g g g
<br />g g g g g g g
<br />g g g g g
<br />
<br />h h h h h
<br />h h h h h h h
<br />h h h h h
<br />
<br />ŋ ŋ ŋ ŋ ŋ
<br />ŋ ŋ ŋ ŋ ŋ ŋ ŋ
<br />ŋ ŋ ŋ ŋ ŋ (“ng” as in “ring”)
<br />
<br /><b><span class="Apple-style-span">100 letter word</span></b>
<br />
<br />naganagasagasagakisakisanakinakigakigakisanasanaganaganagasagasanasanasakigakigakinakinasakisakigan
<br />
<br />
<br /><b><span class="Apple-style-span">a narrative</span></b>
<br />
<br />I was just 16 years old, but had worked for a year and a half in a clothing factory. They had taken us all out of school so we could make uniforms for the soldiers. It was hard work, and we were really happy when they let us return to school at the beginning of August. It was a beautiful day with a blue sky and yellow sun that was already beginning to be hot, even early in the morning when we walked to school We had just started our physics class, it was the second week, and I was a little bored, so I looked out the window. I saw two B-29 bombers, but I didn't worry much about it. "Only two bombers. Not much danger for us.." I looked back at my book. Suddenly there was a very bright flash of light and I felt very hot, as if I were inside an oven. All I could see was orange. A few seconds later there was a tremendous sound, as if every building in the world was falling down at once. I screwed my eyes closed, covered my ears, and jumped under my desk. Now everything was black and I couldn't see a thing; I think part of the roof had collapsed. Everyone in the classroom was very quiet. I began to crawl across the floor. In my mind I was praying to Lord Buddha. "Help me, Lord Buddha!" Never before had I prayed to him.
<br />
<br />I finally got outside, and I saw that I had many little cuts from slivers of glass but I wasn't really hurt. I looked around and was amazed to see that every building, as far as I could see in every direction, was in ruins or badly damaged. I had thought the two bombers could have dropped just a few bombs, but this seemed to be the work of hundreds of aircraft dropping thousands of bombs over many hours. It didn't seem possible that so much destruction could come from so little. Many of the buildings were in flames.
<br />
<br />My friend Takashi came out behind me, his face covered with blood, from a deep cut on his head, I tied a handkerchief around his head, and he leaned against me as we walked to the hospital. It wasn't very far, we just had to follow the tram tracks. We saw a lot of people walking away from the center of the city. Many of them were terribly burned, skin coming off their heads, clothes burned off, almost naked. Many had no hair. With some of them, I could see muscles appearing through the skin, very red. They walked with their arms raised in front of them, in a queue, like a ghostly parade, hundreds and hundreds. Others were crawling, trying to get to the river, to cool their burns with water. Some died before they got to the river, others died on the riverbank, and of those who entered the water,many drowned. Bodies floated everywhere on the surface of the river. It seemed as if everyone in Hiroshima was dying. We reached the hospital; only part of it was still standing. We got inside where we found hundreds of wounded people seeking help from the few doctors and nurses who, despite their own wounds, were able to help them. It looked like it was going to be a very long wait, so I led Takashi outside and we began to walk back in the direction of our dormitory. A rescue truck stopped and took Takashi to another hospital some distance away.
<br />
<br />I continued by myself to the dormitory, but found only a mountain of rubble and ashes. I decided to go to the farm where my mother was staying. I walked some distance, and then found a train which stopped near her village.
<br />
<br />The next day, I woke up with diarrhea and a high fever. I was very sick, delirious the first few days, but got over it in a week. It was caused by radiation, of course, but I was lucky that I didn't stay long in the city or I would have gotten much more exposure. People who stayed in the city to help with rescue work weren't so lucky; most of them died. A few times since then, I've gotten sick again, but I always get over it, and I'm still alive.
<br />
<br />I don't feel angry at the Americans about the a-bomb, even though it caused a huge amount of suffering, destruction and death. Everyone who fights in a war goes crazy. They will do anything to kill their enemies. I suppose that if Japan had had one of these bombs, we would have used it, too. For me, it is better to look to the future rather than the past, but it should be a future where everyone in the world works together to abolish nuclear weapons.
<br />
<br /><b><span class="Apple-style-span">100 letter word</span></b>
<br />
<br />nahigarosashikimanihagorasishikamasahogarisishakaminohagirisashakimanahigirasashikamonihigarasishako
<br /></div></div>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com2tag:blogger.com,1999:blog-784564416569972540.post-25016742348717900702011-06-05T23:13:00.002+02:002011-06-05T23:18:49.330+02:00Tweeting Ulysses: Read Part Two & Wrote First DraftAt last, I have come to the end of Part II of Ulysses, & have read my segment for 11ysses in context. Richly rewarding experience. I shall finish the book before Bloomsday. Next, I firstDrafted my tweets. They seem OK to good, so I’ll sleep & look at them again tomorrow. I’m using Unicode characters quite a bit; they save space and can add a shock of optical energy to the tweets.As an example, I am spelling Bl∞m with an infinity sign, saving a character & alluding to his Everyman attribute. I got the Unicodes from <a href="http://www.ssec.wisc.edu/~tomw/java/unicode.html">http://www.ssec.wisc.edu/~tomw/java/unicode.html</a> . I was able to copy and paste them from the website; only the ones that show up in Microsoft Word using the Arial Unicode MS font seem to work well in Twitter. Perhaps someone might find the following collection useful. Just copy and paste…<br />☏☎☂☥☸♨❦❡❊❉✿✡✞✎✈✄◮◉☭<br />കൠஇணఋജאש<br /> ⁂⌂⌛⌨⌬▣▲▽❒〄♬ ☑☒✔✇❁❀✿☮✾✽✵<br />£§✉✖✣✰� ۩ † ‽∎<br />♔♕♖♗♘♙♚♛♜♝♞♟<br />♊♍♇♆♅♄♃♑♂♀☿☉☽☾★☄☀☼<br />☻☺☹☯☤☠☢☃ ☟☞☝☜☛☚✌<br />∞ ⊥ ↑ⅦLawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-85315643442261319122011-06-02T23:15:00.003+02:002011-06-02T23:30:56.831+02:00Tweeting Ulysses: Unicode rebusesAlthough I am re-reading Ulysses (just entered the bar with “bronze by gold, Miss Douce’s head by Miss Kennedy’s head”) I am also looking at my twitter section wherein Stephen is about to get beaten up by some soldiers in Nighttown & Bloom intervenes to save him). I’m wondering how I’m going to do it. The episode swings between factual description of what is being said & wildly hallucinatory images, among which we see King Edward VII dropping in (he for whom the Edwardian era was named) and at the end, a Croppy Boy (short-haired Irish rebel from the century previous) being hanged in a proto-Burroughsian fashion. I am thinking of developing separate tweetStyles for the straight passages & the hallucinatory passages, the latter to be done in a more visual, less prosaic manner.<br /><br />In yesterday’s post I listed different tactics for saving space in tweets, and the rebus idea has been interesting me more & more. A certain amount of rebusing can be done with the conventional character set (“2 B or not 2 B…”) but since Twitter accepts Unicode, there is a big store of visual dingbat types of characters available. I have installed a little web browser tool called TwitterKeys, which provides 40 or 50 useful symbols, & have also looked at the WikiPedia article that lists many many Unicode characters <a href="http://en.wikipedia.org/wiki/List_of_Unicode_characters">http://en.wikipedia.org/wiki/List_of_Unicode_characters</a> . I did an experimental tweet that verifies to me that I can copy & paste characters from this Wiki page or the browser tool. I think I’ll collect all the even remotely conceivably useful characters from Wikipedia, and make a document I can take them from. Presently, I am thinking of icononizing King Edward the Seventh into ED.VII♚ , using the black chess king symbol, 7 characters instead of 23.<br /> I am eager to use symbols like these ♨ ♬♒☽☠ ➨ ✣ to show but a few, but will discipline myself to be true to the text.Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-77116165884333223442011-06-01T22:00:00.004+02:002011-06-01T22:09:57.352+02:00Tweeting Ulysses: Saving SpaceI’ve read eight chapters of Ulysses, up to page 175 of my 735 page edition. This in preparation for my twriting (or tweading as Steve of Baltimore puts it) of a small part of the novel this coming Bloomsday, 16 June on Twitter at @11lysses. Most of this time, I have been in the mind of Leopold Bloom, experiencing his thoughts, feelings, and associations in a direct and plausible manner. After a few years of meditation followed by a few more years of psychotherapy, I’ve been able to follow my own stream of consciousness somewhat, and Joyce’s rendering of Bloom’s has an impressively authentic quality. I am appreciating the novel as a story with genuinely human characters more than before, when my interest was focused more on language experiments.<br /><br />While I read, I am thinking of how I’m going to make 4 to 6 tweets of my seven pages. I want to tell the story and convey the feeling, and I want to use Twitter in a creative, experimental way. My first thought, of course, is “not enough room!” A tweet has a maximum of 140 characters, so I can use at most 840. There are different ways to respond to this challenge, many quite Joycean.<br /><br />Joyce likes to agglutinate words, metaphorically glue two together to form a new word. This happens sometimes in English, but usually with a hyphen… “not-uncommon” is an example. But Joyce doesn’t use hyphens. For instance, on the page I am about to read, Joyce writes “darkgreener.” This technique saves a character, either a space or a hyphen, and gives the resulting compound word a heightened, poetic quality. It reminds me of how many computer programmers, myself included, give camel-case names to variables: “numberOfRepetitions” agglutinates three words, with the second and third words written in upper case in the midst of the compound to ease reading . “Camel-case” is named because the upper-case letters in the midst of the word stand up like camel’s humps. Perhaps it should be spelled self-referentially as “camelCase”.<br /><br />Another way to save characters is the rebus, substituting a character which sounds like a word. This is common in tweet and mobile-phone text messages. “C U later” or “Me 2.” An interesting literary usage is in Alfred Bester’s SciFi novel, <i>The Demolished Man</i>, where two characters have the surnames @kins and Wyg&, (“Atkins” & “Wygand”.)<br /><br />Abbreviations might work. I remember SpeedWriting ads from the 50’s and 60’s: “f u cn rd ths, u cn gt a gd jb.” The “u” in this example is more of a rebus than an abbreviation. This method can produce text that is quite difficult to read, and is often rather ugly.<br /><br />In Joyce’s time, people sent telegrams where we use email today,, and were motivated to keep messages short to save money. So people developed telegraphic writing, leaving out pronouns, articles, and conjunctions. Example written telegraphically—words dropped, sentence shorter. At times Joyce’s stream of consciousness writing in Ulysses resembles this. But if you write telegraphically, you shouldn’t use abbreviations or rebuses, as there won’t be enough redundancy in the message to enable the reader to reconstruct it.<br /><br />Another stratagem might be to use slang expressions that are shorter than their equivalents in conventional English. I’ll be tweeting part of the Nighttown section, which is in the red-light district, so I may be referring to a prostitute now and then. “Whore” is shorter, and “ho” is really short. But I’m a little uncertain about using “ho”: it’s a black American vernacular (Ebonics)or perhaps hiphop word, and it may be too wrenching to the text. I’ll have to try it out and see how it feels.<br /><br />These are the experimental tweetniques (forgive me) I have found so far coming from the need to save space. Later I’ll write about some ideas that derive from different sources.Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com2tag:blogger.com,1999:blog-784564416569972540.post-1263980355790737032011-05-31T13:11:00.011+02:002011-05-31T13:36:44.386+02:00Ulysses Meets Twitter 2011<span class="Apple-style-span" style="font-family: arial; line-height: 17px; font-size: medium; ">On Bloomsday, 16 June, 2001, James Joyce’s novel<i> Ulysses</i> will be tweeted more or less in real-time. I am honored to be one of the twriters, tasked with distilling 6 to 9 pages of the text into 4 to 6 tweets. An explanation of <b>Ulysses Meets Twitter 2011</b> can be found on the <a href="http://11ysses.wordpress.com/our-tweaders/">11ysses Blog</a>. You can also follow @11ysses on Twitter as the project develops.<br /><br/>The organizer, Steve of Baltimore, has divided the book into 96 sections; I am working on section 71, in the Nighttown/Circe chapter. The tweets will flow commencing 8 AM, GMT/Dublin time (2 AM Eastern US Time), and will continue for 24 hours. Section 71 will go out between 1:30-1:45 AM GMT or 7:30-7:45 PM Eastern Time.<br /><br/>I first read Ulysses when I was sixteen years old, about fifty years ago. My parents had a copy of the Modern Library edition, and I borrowed Stuart Gilbert’s “James Joyce’s Ulysses: a Study” from the library. A month later, August, 1961, I finished and I felt that I had undergone a kind of initiation into modernist fiction. In the intervening years, I’ve read here and there in the book many times, but never again all the way through. I feel like I should re-read it before starting my alchemy on section 71, and started last night with Part I. What a pleasure to savor Joyce’s language, and, with fifty more years of life and experience, it seems much more rewarding than in my adolescence. The Modern Library book disintegrated, so now I am reading a beautifully printed Folio Society edition. I must make haste to read 500 more pages and get to my section so I’ll have time to write my tweets in an appropriate twitter-style. It is good that I am retired.<br /><br/>I’ll post on my progress from time to time until I submit my tweets to 11ysses, in a week or so.</span>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-55995022429626116992011-03-05T22:24:00.003+01:002011-03-05T22:30:05.983+01:00How a true-life character in “True Grit” made possible the existence of my family<p class="MsoNormal">The current Coen Brothers’ film of “True Grit” has generated an unusual amount of interesting web responses.</p> <p class="MsoNormal">Languagelog (<a href="http://languagelog.ldc.upenn.edu/nll/?p=2873">http://languagelog.ldc.upenn.edu/nll/?p=2873</a>) considers whether the paucity of verb contractions in “True Grit” is not a realistic depiction of American speech of the later nineteenth century. Analysis of other literary works, including Mark Twain’s, indicates that it isn’t. </p> <p class="MsoNormal">Another linguistic take on “True Grit, “ specifically on Rooster Cogburn’s incredible diction, is in a subtitled video on Collegehumor.com (<a href="http://www.collegehumor.com/video:1945368">http://www.collegehumor.com/video:1945368</a>.)</p> <p class="MsoNormal">Cocktail Party Physics admires the physics of “True Grit” in <a href="http://twistedphysics.typepad.com/cocktail_party_physics/2011/02/and-the-oscar-goes-to.html">http://twistedphysics.typepad.com/cocktail_party_physics/2011/02/and-the-oscar-goes-to.html</a>. The time delay between Rooster’s pulling the trigger on his rifle and the shot hitting the distant bad guy, and the effect of the recoil of Maggie’s rifle are both noted.</p> <p class="MsoNormal">The film opened in France and in Spain a couple of weeks ago, and two different people have told me how much they liked it: J. in San Sebastian and G. in Anglet, near Biarritz. I felt obligated to tell each the following story.</p> <p class="MsoNormal">“True Grit” takes place around 1885, at first in Fort Smith, Arkansas, and later in the Choctaw Nation, part of Indian territory, now in Oklahoma, the state of my birth. The film was not shot in Oklahoma, but further west in New Mexico, so you don’t see the rolling green hills of Eastern Oklahoma. In Fort Smith we see a hanging and a courtroom scene. The presiding judge at that time was Judge Isaac Parker, and he was a real person who is depicted in the film. Parker was famous as the “Hanging Judge,” because he sentenced 160 defendants to death, of whom 79 were actually hanged (according to Wikipedia.) The film showed three desperados being executed on the same gallows; Parker’s gallows could actually accommodate six. </p> <p class="MsoNormal">In 1892-93, my grandfather, C S Petty, worked for Judge Parker.</p> <p class="MsoNormal"><i style="mso-bidi-font-style:normal">Clarence S. Petty was born 11 November, 1871 in Gadsden, Alabama. In 1892 he received a degree in Business from the University of Alabama at Tuscaloosa and moved to Ft. Smith,<span style="mso-spacerun:yes"> </span>Arkansas where he taught at the Business College for two years, studying medicine with Dr. J. C. Daly and working as a clerk some of the time in the court of Judge Parker= “the Hanging Judge.”<o:p></o:p></i></p> <p class="MsoNormal"><i style="mso-bidi-font-style:normal">In 1894 he entered the Chicago Homeopathic Medical School and was graduated in May, 1897; one of the seven to graduate with honors out of a class of fifty seven. After graduation, upon the strong urging of [Oklahoma Territorial] Governor Barnes, he moved to Guthrie, Oklahoma to open his office. It is interesting to note that Governor Barnes had lost his personal physician, a homeopathic physician, and wrote his friend, Judge Parker, to ask if he knew of anyone he might interest in coming to Guthrie to open an office and also care for him….Judge Parker spoke highly of Clarence and Governor Barnes’ invitation was forthcoming.<o:p></o:p></i></p> <p class="MsoNormal"><i style="mso-bidi-font-style:normal">-Germaine Petty. The Petty Family (1985), page 5<o:p></o:p></i></p> <p class="MsoNormal">Because of my grandfather’s work for Judge Parker, he gained a very good position in Guthrie, the new capitol of the Oklahoma Territory. If this had not happened, he would not have met my grandmother…</p> <p class="MsoNormal">The Parker court of 1893 was very different from that of 1885 shown in “True Grit.” In the 80’s, Parker had jurisdiction over all of Indian Territory, which covered most of what is today Oklahoma. And indeed, federal marshals did go into the Indian nations and capture criminals, many of whom had fled into what was then the last of the Wild West. A few years later, in 1889, the first of five land runs began the process of stealing land from the Indians and allowing white settlers to claim it. What later became Eastern Oklahoma remained under the control of the Cherokee and Choctaw Nations, but when Oklahoma Territory was organized out of the newly white-settled part of Western Oklahoma, a new federal court was organized to deal with both Oklahoma and Indian Territories; Parker’s domain shrank accordingly. <span style="mso-spacerun:yes">So it is not very likely that my grandfather saw colorful federal marshals or multiple hangings.</span></p>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-56252249010938383632011-02-08T22:50:00.029+01:002011-02-23T13:25:32.036+01:00LIMINAL DESIGN<p>These photos show the conflict that sometimes occurs between what designers think is best and what people, acting collectively and nearly unconsciously, will redesign if they can. And then there is a surprising resolution to the conflict.<br /></p><p><br /><!-- before R --><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxbqX6GoZ89au46E1jXMh_dZnXlet6qwxOmSs9M7VmFDjPEOkJ0xSwR69Z1_gYHRHUD6u_CpWV1Vtf7OFrVReycQVNH_4nRtNxU3Ur9q8tKSfYEH4lxHrVzUVjSGQG2HXVxfqzf6GDUM/s1600/benta_berri_before.JPG"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxbqX6GoZ89au46E1jXMh_dZnXlet6qwxOmSs9M7VmFDjPEOkJ0xSwR69Z1_gYHRHUD6u_CpWV1Vtf7OFrVReycQVNH_4nRtNxU3Ur9q8tKSfYEH4lxHrVzUVjSGQG2HXVxfqzf6GDUM/s320/benta_berri_before.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5571443258368421154" /></a><br /></p><p><br />The top photo was taken 27 June, 2009. It shows a sidewalk near the Plaza of Benta Berri in Donostia (San Sebastian), in the Basque Country of Spain. Crossing the sidewalk at a diagonal is a well-defined footpath. I'll explain below why people preferred to walk this way, but the gentleman pictured evidently prefers to walk on the sidewalk; and it's not because he is going to turn to the right. I have another photo showing him turning to the left. I took this photo because I have had a long interest in this kind of collective creativity.<br /></p><p><br /><!-- construction R --><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnXo_v2G_dSV8C9ERksCzC792O8qPvR1_-mHd9E_NuB0IEDHa_zRKy7kVkVcjr1lUjaYvaC7mL0W0LDjkkGv38wDkwGqql9S-BcP4io0Mh4mTZZIEduFoQlVPP3z5tvzmNu8TQNJOdSC8/s1600/benta_berri_during.JPG"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnXo_v2G_dSV8C9ERksCzC792O8qPvR1_-mHd9E_NuB0IEDHa_zRKy7kVkVcjr1lUjaYvaC7mL0W0LDjkkGv38wDkwGqql9S-BcP4io0Mh4mTZZIEduFoQlVPP3z5tvzmNu8TQNJOdSC8/s320/benta_berri_during.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5571448047620970610" /></a><br /></p><p><br />About four months later, the city began to rebuild the plaza, and I was amazed to see them tear up the old sidewalk and begin to lay out a new sidewalk, more or less following the redesign made by the feet of the people. The third photo, just below, shows the completed reconstruction; it was taken this month (February, 2011.)</p><p><br /><!-- after R --><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJfvCu0Egw_G34DCVWonm3TiFquGSQxaQwBUNYYzLS1L2D4LVwwPzOcUywTsRsQJd4_l-16DWnPKVpNs-iluOvfFVPmgX-mkHTt6lep4Wc00jEmhJnhNwRV9yvkTImWnmRZS5D8I_6K8/s1600/benta_berri_after.JPG"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 231px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJfvCu0Egw_G34DCVWonm3TiFquGSQxaQwBUNYYzLS1L2D4LVwwPzOcUywTsRsQJd4_l-16DWnPKVpNs-iluOvfFVPmgX-mkHTt6lep4Wc00jEmhJnhNwRV9yvkTImWnmRZS5D8I_6K8/s320/benta_berri_after.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5576145358682647746" /></a><br /></p><p>Why was I amazed? I don't remember seeing or hearing of an example where a designer has allowed a mostly unconscious group of non-professionals to collectively lay out a path. </p><p><br />The reason this collective (the public) redesigned the path was to get it to lead more directly to the local fitness center, or, going in the opposite direction, to Calle Matia, the main shopping street. The clipping on below shows this clearly.<br /></p><p><br /><!-- big map : L --><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDFLU4aLN_z63ugy3ZpMO4dG2xEACNrVWwbylMnX94lxuA3ofGfdNZvTfAOCOASJ8YbqD19rYsoOhC5Edb8s16tf4t-HjCwpYJbcb91rmdQ99FmbJSczBUzAtosjE-KiDIdTaP7QA9RW0/s1600/benta_berri_map_matia-polidep.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 305px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDFLU4aLN_z63ugy3ZpMO4dG2xEACNrVWwbylMnX94lxuA3ofGfdNZvTfAOCOASJ8YbqD19rYsoOhC5Edb8s16tf4t-HjCwpYJbcb91rmdQ99FmbJSczBUzAtosjE-KiDIdTaP7QA9RW0/s400/benta_berri_map_matia-polidep.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5576148894348082274" /></a><br /></p><p><br /><br />The redesigned path is near the center of the clipping. The gray rectangle in the lower left of the clipping is the building housing the local swimming pool and fitness complex. The new path lines up with the sidewalk, just to the left of the smaller green triangle, leading to the entrance of the building, at the bottom of the clipping. To the left of the fitness center one can see the corner of a large set of concrete playing fields. Going in the other direction, the redesigned sidewalk flows into the sidewalk heading toward the trees of the plaza, and, beyond that, the shops. This clipping was grabbed today, even though the concrete sidewalk was torn up sixteen months ago. Google often has a significant lag in updating their maps, and, particularly their satellite images.<br /></p><p><br />It appears that as people approached the sidewalk, they saw their destination and began walking toward it before they reached the concrete. People like to save steps. The concrete sidewalk was at a right angle to the other sidewalks, and in general, people prefer to turn gradually rather than quickly. They may be inhibited from walking on the grass, but once a few people have pioneered this route, the grass becomes obliterated, and the inhibitions drop away. Depending on the terrain, the shape of the path will be influenced by people's preferences not to step too high, wade through plants, or get wet. Depending on the time of year, the path may stay in the sun or in the shade.<br /></p><p><br />I often observe my mind while walking, and most of the time, it seems to function completely automatically; I don't need to think or make any decisions. But when I am approaching a destination and see it, I feel a kind of pull, not literally of course, but as if some hidden part of me is trying to turn my body toward the goal. Once I've left the orthodox path, I find it more comfortable to walk where others have walked before; if my foot is about to leave the collective path, I feel a little anxiety that is eased by keeping to it. At any time, I could start walking in any direction, but it's easier to follow the impulses that seem to float up from the interior darkness. These are transient experiences, scarcely noticed and immediately forgotten.<br /></p><p><br />People decide how to walk in a partly conscious manner. Part of each decision is made unconsciously, by mental processes that deal with the mechanics of walking, measuring distances and heights, looking out for obstacles, and so forth. The rest of each decision is made consciously, by a liminal consciousness that receives information from the unconscious processes, in the form of feelings, emotions, or the kinesthetic equivalents of images; these are weighed and quickly a decision is made of where to step. By liminal consciousness, I mean consciousness right at the threshold of the unconscious, able to receive the output of the unconscious processes but otherwise ignorant of their natures or even their existence. Because of its liminality, this kind of decision-making is forgotten almost as soon as it happens, unless a person makes a special effort to observe it. The kinesthetic equivalents of images are anticipations of where the feet might go, how balance would be affected, how much the leg would need to be lifted to go a particular way, as well as other concerns of the unconscious processes responsible for moving the body. The feelings, emotions, and kinesthetic images, which constitute the data from the unconscious processes are fleeting, occupying part of the attention for a fraction of a second before being replaced by the next set of data. When a person, walking, is also carrying on an interior monologue (perhaps constructing the narrative of his or her life) the experience of attending to the unconsciously derived data and weighing the possibilities of where to walk, is lost in the background.<br /></p><p><br />The conflict between the professional designer and the public is illustrated in an apocryphal story about Dwight D. Eisenhower, while he was president of Columbia University; he headed Columbia after World War II, before he was elected president of the US in 1952. He was approached by the head of Buildings and Grounds with a vexing problem. The students weren’t respecting the sidewalks, and were instead wearing their own paths in the grass. Couldn't the retired general order them to walk on the sidewalks? Ike, instead, is said to have suggested that they rebuild the sidewalks to follow the paths the students obviously preferred to walk. I always liked this story, because it demonstrated a flexible, pragmatic attitude in Ike, that you don't see in many Republicans today. Alas, there is no evidence for this story. It's an urban legend, one of many such stories, each set at a different university, sometimes with a variation: they built a new campus, but waited a year to construct the sidewalks so they could see what the students tramped in the snow.<br /></p><p><br />There is another legend that the twisted, irrational streets of downtown Boston follow cow paths. In fact, early Boston consisted of scattered farms, and, as people walked from house to house, they avoided obstacles-- ponds, marshes, masses of thorns, trees-- that no longer exist today.<br /></p><p><br />I am happy to see this design (or anti-design) idea applied in my neighborhood. Is it part of a new sensibility that younger designers are cultivating, one that might make our cities more livable?</p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><p></p>Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0tag:blogger.com,1999:blog-784564416569972540.post-18641569828920738542010-08-25T16:16:00.001+02:002010-08-25T16:18:33.635+02:00I dream, therefore others existSolipsism, of course, is the belief that only you exist; that what you experience as the universe is an illusion created by your mind, with no external input of any kind, because there is nothing external to you. In most ways solipsism is a useless idea, inasmuch as it can’t be proven to be true, and once accepted, it really doesn’t lead to anything else, in terms of philosophy, insight into life, or development of one’s self. This is pure or strong solipsism, but there is a spectrum of lesser solipsisms, which hold in varying degrees that the universe is a construction of the mind, constrained by socially-based consensus, and, in its mildest forms, by some kind of external reality. It is possible to derive a kind of cultural relativism from these milder forms, by which one would not judge any world view as being more or less valid than any other.<br /><br />I certainly hold that each of us constructs their world in their minds, and that we behold our constructions rather than directly experiencing external, presumably physical reality. Lest I spawn a homunculus, I think its better to say there actually is no beholding of the construction, but rather that the constructing is the beholding and the constructor is the beholder. I also hold that one’s construction is constrained by external physical reality as well as by the consensual reality of one’s social group. But I am a little uncomfortable knowing that strong solipsism might actually be the case.<br /><br />But I recently had an insight that, for me at least, forever eliminates any possibility of strong solipsism. The insight is that dreaming is very different from waking experience. This is because dreaming is subject to no constraints, either from external reality or from social consensus. Dreaming is free to be inconsistent, non-causal, nonsensical, magical, and crazy. If strong solipsism were the case, then waking experience, also free of external constraints, would be equally inconsistent, non-causal, nonsensical, magical, and crazy. I leave out the waking experience of people in psychedelic, mystical or psychotic states of consciousness, where visions or hallucinations are so strong that they constitute a world independent of external physical reality. But my waking experience is nearly always consistent, continuous, generally regular, often predictable, and really quite different from my dream experience. There must be external constraints, either consensual constraints deriving from one or more beings outside myself, or from these beings as well as from external physical reality. The physical reality, if one accepts that it exists, is unknowable, but its constraints are inferable and its apparent regularities describable. At this point, I don’t know how to determine if the world is a collective hallucination of myself and other beings, or if there is an external physical reality, but at least I know I am not alone.<br /><br />I dream, therefore others exist.Lawrence/Larry Johnsonhttp://www.blogger.com/profile/11640207408654119256noreply@blogger.com0