Experience, anyway. diverted toward Empty, the space of life.

Experience, anyway.

(click above if you missed the start)

2 pages in…the new fiction meets a message….

Empty, the space of life

“My relation to others is staggered all the way to the infinite;

from the bottom up, never horizontally, the distance from here to there…

…What you call ‘distance’ is but the time of breathing in, of breathing out.

All the oxygen man needs is in his lungs.

Empty, the space of life.”

-Edmond Jabes, fromΒ A Foreigner Carrying in the Crook of His Arm a Tiny Book–

perhaps a title change, but certainly a deepening of the layers…

anyway, Experience, anyway. goes on into the encounters…

Synchronous Display – Serendipity

The books I first encountered today – and in such intriguing titular order….

and when is additional engagement with Olafur Arnald’s work not welcome

Needing Complexity, Craving Simplicity

from Donald Norman’sΒ immensely readableΒ Living with ComplexityΒ (2011)

Norman - Complexity

 

(click pic for chapter 1)

On Teaching: or, “going there, without knowing where,” with Jean-Francois Lyotard

Jean-Francois Lyotard - EGS
Jean-Francois Lyotard – EGS

Endurance and the Profession – Lyotard

(replete with approximations of my own markings and highlights – N Filbert)

Nourishment during a lunch break

Fynsk - Claim of Language“Here, I will observe simply that fundamental research (in the humanities) diverges from much theory in that it is always seeking the limits of its language in responding to that to which it seeks to answer: those dimensions of experience and symbolic expression that summon it (as a kind of exigency for thought) and to which no concept will ever be quite adequate. Β Such research is impelled by its own neediness and its sense of being answerable, whereas theory, governed by the concept, proceeds with ever-expanding appropriations; fundamental research proceeds fromΒ encounter (always from a sense that something has happened to which it must answer), and it seeks encounter. Β In theory, there are no encounters.”

– Christopher Fynsk –Β 

 

On the Nature of the Sound of Respite

commentary by Balmorhea

The Meticulous Blur

entry for Friday Fictioneers, June 28, 2013

copyright - Indira

How it left my mouth, toward her.Β  How long I’d ached and labored it.Β  How meticulously prepared.Β  From amorphous origins – a preoccupation and urge, a hunch, desire.Β  Like longing + some desperate attention.Β  Had I shared this constant process, they’d have named it β€œobsession.”  A phrase, a statement, a promise, a claim.Β  How it left my mouth when the moment arrived, arrowing itself toward her.Β  A chiseled and hair-thin fibre of sound, a core-content-chain of DNA, let free in the matter between us.Β  How it blurred and whooshed past.Β  Disintegrative and smeared in possible meanings.Β  How quickly the resulting compound decomposed and deconstructed.

Ah, vitality

Nietzsche

β€œNietzsche is the most sarcastic son of a bitch ever to set foot on this
earth. Just say that; then write whatever else you want, like he would.” β€”
β€” So my friend Werner Timmermann tells me, with a gleam in his eye.
He helped with my translation of Thus Spake Zarathustra, a four-year-long
labor of love, so he knows what he is talking about. Zarathustra (1885)
was Nietzsche’s magnum opus; everything before it was preparation,
everything after it expatiation and elucidation.
But, for some, the question remains: Why Nietzsche? Friedrich
Nietzsche (1844-1900) was quite simply one of the most original and
influential philosophers who ever lived; in addition, his writing style was
brilliant, epigrammatic, idiosyncratic [β€œIt is my ambition to say in ten
sentences what everyone else says in a book β€” what everyone else does
not say in a book.”] The language dances, prances, whirls and twirls; it
ranges from ghetto-verbalizations and vulgarizations to high art, from
lyricism to sardonicism, from satyr-play to passion play. No one really
writes like Nietzsche, though the number of his stylistic apes and
imitators is legion (especially in the ranks of academe).

-from the introduction 2004 translation ofΒ Ecce Homo &Β The Antichrist

Ecce Homo & The Antichrist by Friedrich Nietzsche (2004)

sympatico-ally discovered via Time’s Flow StemmedΒ (take a look!)

Current Ways I’m Thinking about Meaning/Learning

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Experience, anyway. cont’d

2

Β Β Β Β Β Β Β Β Β Β Β  Like before, but never exactly.Β  That’s why similar and memory, and that’s why it’s new.Β  Begins.Β  Never not change.Β  If only pennies.Β  It works.Β  It goes on.

So that what seems a chasing, a tracing, a spy-archaeology-sci/fi-breathless-fragile-safebreak (i.e. β€œcreative writing”) is also dirgy dredging, slurry stirring, re-invention redone renewing some old search.Β  If he wrote β€œto get it right” it would be wrong.

Standard unlocatable with too many variations depending on, all boundaries shift with each decision – though it feels less freedom of choice than compulsion to find – where there’s nothing to find that’s not making (constructed – what’s there getting too little credit in general) – what’s done with what’s attended.

Not meant to be confusing – but from quark or qualia, wave-particle to universes full of looming holes, it plainly is.Β  At least what we’re able to tell of it – representamen – hingey symbols we careen from like units of mobiles in wind or gyring pirate swings.

There is that.Β  Is, is, is, is : handy set of markings and concepts β€œto be” the seeking and the sought – condition and conclusion – of begin.

Listening now – the statue the only Other besides the dogs – well, and whomever all conjoined to craft these scribblings to serve as silent sounds filled with elastic contents over meticulously-constructed time.Β  The billions.Β  And infinite (as far as he’s concerned or capable of β€œcounting”) quanta of wave/particle/atom/molecule/element – dithering thoroughfares making up ginormous pervasive systems within systems in which he depends and participates toward is.

– To music, quiet head of Buddha lurked behind, no longer staring with the eyes as much as ears – sense shift and collusion – never one without another – it goes on.