“The literary word resembles a person who roams at will” – Robert Musil

“The sentence not only derives its meaning from the words: the words derive their meaning from the sentence, and the relationship between page and sentence, whole work and page, is no different…the embracing and the embraced develop their meaning mutually out of each other, and the structure of a page of good prose is, analyzed logically, not something frozen but the vibrating of a bridge, which changes with every step one takes on it…”

“One can only explain that it is from all the details taken together, and through their mutual interpenetration, that the whole arises in a way that remains mysterious…a transformation of sense that eludes logic…but theΒ meanings are related to each other, and when one grasps one meaning the others peep through beneath it…”

-Robert Musil – “Literati & Literature” –

In addition

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The Writer: a context out of context

author sketch by Holly Suzanne
author sketch by Holly Suzanne

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Faced with the blank page, Writer runs.

Confronting the white spaces, Writer enters.

Emptiness indicating gaps.Β  The writer attempts to cross.

In theory this is β€œbridging” – the ability to construct a bridge.

In practice, Writer uses words like rope.

Without them he would fall.

Plummet.

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In the presence of what infers silence, Writer hears patterns and rhythms.

Sometimes also sees.

Constructing shapes of nothing, this is sometimes called.

Creatio ex nihilo referring to no context.

In absence of recognizable sound – the infinite conversation.

Writer holds there and eavesdrops.

Writing is a device.

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Responsibility ends where opportunity begins, which invokes responsibility.

Writer fills the margins.

Working at the edge of labor.

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If the tracks are laid, Writer composes rails.

The network is for nothing – conversation going on.

Creatio in contextus refers to complex emergence, a result of adaptation

and leftovers causally unexplained.

Writer is compelled into absence.

Children skipping cracks, stuntmen leaping canyons.

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Writer is friend to correspondence

ecstatic moments

the distance in between

threading disconnections

shooting gaps.

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Setting aside is opening doors

in land without land a Writer’s building.

Writing represents a reference

context woven out of context

Writer spins.

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Portrayal is errant copy.

Narrative a fabrication.

Sentencing – destruction.

Every symbol plugs the whole

cluttering conduits

Writer can’t escape.

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Writing is abiding time.

Never yet, always almost.

Writer leaps

with nothing there

into now + here

which equals…..

Β N Filbert 2013

 

The curious inherent courage of being an open adaptable dynamic system

“The human skin is an artificial boundary: the world wanders into it, and the self wanders out of it, traffic is multi-directional and constant”

-Bernard Wolfe,Β Limbo

as information-processing organisms, we are amazing.

in relation to nonbiological elements, wow.

i am typing this and you’ll be able to view, read, interpret, apply it.

we become persons, individuals, agents only by relating to what is around us.

we are fascinating.

I recommend.

Announcing: STUDIOVOGUE Gallery Group Exhibit “Harmony in Diversity” with Holly Suzanne

Announcing: STUDIOVOGUE Gallery Group Exhibit “Harmony in Diversity” with Holly Suzanne.

So proud of this particular artist! Β Congrats – wish we could be there! Β Love you brilliant wife!

What I Was Meaning To…

“Abandoned Writing Projects”Β by R. M. Berry, from:

New Arrivals, digging in

We Make Art

We Make Art: A Query toward Perceptive Extension

paper snowflakes by Holly & children
paper snowflakes by Holly & children

Waking reminded –

I’ve been working over things in my sleep.Β  Parenting issues, marriage.Β  Vocation deadlines, assignments.Β  Logistics and payments and scheduling.Β  Improbable care of the self.

– that overwhelm is inevitable, inherent.

Everything we know (or surmise) about anything indicates vast beyonds unknown and ignored.Β  In order to see, to breathe, to speak, to hear, to feel, to think, to live.Β  We filter and avoid.Β  Press the vast majority of the world’s availability into a void.Β  So of course we can’t manage our world, or comprehend, even minimally control.Β  We can barely deal with even a relatively microscopic set of variables, and those only enough to survive.

Reminded, awake then, that overwhelm is constant and inevitable.Β  Inherent to the systems of which we are and are a part.Β  Living is processing vastness.Β  Essentially unscalable.Β  And we thought bacteria were small!

Β  Β  Β  Β  Β  Β Β So it comes as no surprise that at times we feel oppressed, drowned, immersed – helpless, confused and at loss.Β  Pretend for a moment that we have to-dos that seem important + unforeseen and substantial grief + illness + snow days (which = a house full of ecstatic children, active and noisy and eager to be entertained) + inclement weather shuffling schedules and doctors, activities and possibilities around + limitations of time, energy and internal resources + anxiety or mood β€˜disorders’ + love and high hopes + responsibilities and intentions + fears and deep hurts + a body (bodies) mind (minds) to feed and nourish +…

Too Much Information, a saturated context for the human organism.Β  The black box crashes.Β  The connections run slow.Β  The screen jerky and fuzzy.Β  Head aches, breath thickens or shallows, noise is incommensurate – the signals scramble…

At first breach, first sign of imperturb…we check in, acknowledge – perhaps argue or fight or make love (i.e. signify our overwhelm and our intensity), sit still, register what we can…

and wake up, reminded:

WE MAKE ART.

Β Β Β Β Β Β Β Β Β Β Β  Once ground is touched, we go in (or out) – β€œseventh direction perception” – we begin to consciously process/perceive.

 

 

The query that sprouted is as follows: might the activity of art-a creative dialogic relation of index-sign-symbol, signifier-signifiant-and interpreter, i.e. β€œbecoming-forth” – expand our perceptive capacities/processing?

In other words, in enacting the relationship of making, creatively, holistically, might we draw on more of the world’s availability – perceived and β€œdismissed” – a fuller context of experience less limited by intentional activities of categorical aims and constraints, thereby opening more of us to more of it in an open reciprocal dynamic interrelation, thereby sort of processing in β€œlump sums” – a gulping digestion of overwhelm?

We set aside prescribed roles, beliefs and opinions and work out, work into, an arbitrary generalized conventional (safe) medium…we fog our normalized paradigms and strictures of interpretive alertness – mores, values, expectations and censorship – we reach out gathering in.Β  Interact.Β  It seems something larger is carried, is moved – more than the medium, more than ourselves, more of a context, a world.

Does art extend our perceptive capacities?Β  Our scope of perception – to process, to be?Β  A kind of open-boundaried passage of experiencing between organism and world?

works in progress by Holly Suzanne
works in progress by Holly Suzanne

Welcoming Others : Inside

β€œwe fill pre-existing forms and when we fill them we change them and are changed”

-Frank Bidart-

Refractions on Fiction

Reflecting on fiction as representation, as presentation, as inquiry, investigation.

About how little I care – re: ideas – the freedom of impersonal investment – when a piece is duly fictional.

After the days spent composing Signs of Love I’ve only thought of how I haven’t thought of it since it was posted.Β  Johnson’s theory of perception, the professor’s thoughts and ideas, Monte or Margaret, Frank or Lars – how they none of them reflect on me.Β  How I didn’t have to worry how they came across or sounded, what positions or actions they became – what they represented – it wasn’t me!Β  Who does battle with a shadow?

So often, the stringy stream of conception-reflection-creation-manifestation seems to pull heavy parts of the self along with it.Β  Dark or slimy residue.Β  As if a reader who took issue, questioned or challenged a something that I wrote or language I expressed as fiction were in fact addressing some aspect of ME – rather than an open work of invented text.Β  Suppose, for instance, my wife reads a piece and follows it up with β€œso you’re saying that life is more difficult because of me?!” or a random visitor commented β€œhow could you think or say this?!”  When in fact, of course, I didn’t – Lorraine did, or the professor or husband, writer or sand crab or whomever the character that acted or expressed it did.Β  Ask them then?Β  Another way of saying – β€œask yourself.”   That’s what I as a writer continually have to do.Β  Language comes out, forms an idea, or a behavior is described and I have to wonder at it – is that indeed what the voicing thinks or wants or does?

Like a painter with their lines and colors, textures and strokes: what belongs once something has been marked there?

The freedoms of fiction spread as I recognized the therapy-like patience and reflection I provide to characters and voices – to language – in texts (fiction or non-fiction).Β  I do not feel threatened by them, do not take them personally, neither when I read nor write them.Β  They are other – other matter, other contexts, other contents, other kind from me.Β  I am busy handling matter…piecing it together, painting over, scraping away, diluting, splattering, letting it run…open to what β€œfeels” or β€œsounds” right given the matter at hand – content, tools and resources.Β  Strenuously engaged, passionately even (at times), and also separate, observant, addressed as much by the work as it forms as addressing it onto the page.

Which got me to thinking – how much kinder might I be, even towards my β€œself” were I to engage what creates me as β€œother”?Β  We’re an oddly organized confabulation of matter and energy, after all, multiple diverse systems coordinate and constitutive, creative and adaptive toward a sort of dynamic organismic β€œwhole.”  My brain no more a β€œme” than my penis or big toe.Β  How often with sharp pain in my knee or some zany daydream, a nail needing trimmed or hair left in a brush, do I question, challenge or take issue with a personal self for such systemic occurrence?Β  I participate with, or have (am characterized by) knees and eyes and organs, but they do not equal me.

What if some kind of β€œI” (collective of natural dynamic and organic systems) listened to, read, inquired and engaged the contents, emotions, concepts, actions and instincts that occurred within as fictions engaged – as benign or indeterminate others – akin to characters or words in a story or play – organized matter with energy – rather than some sort of judgmental scrutiny so often readily applied to β€œMe”?

The β€œI,” the β€œme,” the β€œself,” the β€œbrain,” the β€œcalf,” the organs, veins, chemicals, liquids, cords and tendons, bones and tissues, the individual cells of me – all inter-relational organisms in themselves involved in a system I experience as β€œme.”  With recognition, suspended disbelief, detachment, passion and care granted as I offer my own and others manifest creations in language or image, movement or sound?

Attend to your cells and systems as characters and languages today – manifestations of being – not entirely your”self” – welcome all the others inside as well.

Fiction. Fractals. Filosophy.

TheΒ WHYs of them:

“semiotics is not about the ‘real’ world at all, but about complementary or alternative actual models of it… an infinite number of anthropologically conceivable possible worlds. Β Thus semiotics never reveals what the world is, but circumscribes what we can know about it; in other words, what a semiotic model depicts is not ‘reality’ as such, but nature as unveiled by our method of questioning. Β It is the interplay between ‘the book of nature’ and its human decipherer that is at issue.”

-Thomas Sebeok-

“the forms and laws in our worlds do not lie ready-made to be discovered but are imposed by world-versions we contrive – in the sciences, the arts, perception, and everyday practice. Β How the earth moves, whether a world is composed of particles or waves of phenomena, are matters determined not by passive observation but by painstaking fabrication…Constable urged that painting is a science, and I suggest that science is a humanity.”

-Nelson Goodman-

“a mobile unsteady structure…with all the bits always moving about, fitting together in different ways, adding new bits to themselves with flourishes of adornment as though consulting a mirror, giving the whole arrangement something like the unpredictability and unreliability of living flesh…The endeavor is not, as is sometimes thought, a way of building a solid, indestructible body of immutable truth, fact laid precisely upon fact…Science is not like this at all.”

-Lewis Thomas-

“Perhaps the best way to think about post-modern self-referentiality is not as a denial of language and literature’s connection to the world but as their self-consciously pointing to themselves trying to point to the world.”

-Robert McLaughlin-

Nathan Portrait

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