3N Plus

Brenda Laurel
Computers as Theatre – Second Edition

Side Bar page 83

At first, we thought simply to build a game […] But as we began conceptualizing the game, we realized that we were actually building a world; material in that particular game arose from construction about the environment and characters that was larger than the content of the game itself.

Laurel’s report suggests to me that world and narratives and games arise from acts of narration which are ways of constructing.

Narrativity -- Narration -- World, Game or Narrative
Narrativity = Potential
Narration = Production
World, Game, Narrative = Product

Decoupling narration from narrative (discourse still gives rise to story but it also can result in world or game) … narrativity is the potential for formulating sequences from semiotic material (it need not be verbal); narration is the production of sequences and their recombination; narrative, world and game are products of acts of narration (thought through an expansive notion of manipulating sequences). This conceptualizing of the relations build upon earlier efforts.

And so for day 2835
16.09.2014

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Kiwi Conceit

John Barton
“Shopping at Capers”
Hymn

eggs blown sky-high past
the azure and broken open

distillate halves
of the heart laid bare, yes

and yes, tart cabochons
of peridot icing my tongue.

Because before me is a Canadian gay poet, I keep thinking that the egg and the jewel metaphors, these baroque descriptions, are reminiscent of euphemisms for male anatomy.

And so for day 3169
15.08.2015

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Q + A

From the middle to the end of the poem:

What is to be?
It is to bear a name.
What is to die?
It is to be name only.
[…]
What is to ask?
It is to find an answer.
What is to answer?
Is it to find a question?

Laura Riding
“As Many Questions as Answers”

And so for day 3168
14.08.2015

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The Abode of Two Bodies

Jean-François Lyotard
The Postmodern Explained

Oriented to the world within and without:

[Claude] Lefort [in an article about the novel 1984*] uses the name of the body to designate the two entities Merleau-Ponty tried to consider together in The Visible and the Invisible: the knot that ties the sentient to the sensible, the chiasm of sensibility, the phenomenological body; and the hidden, singular organization of space-time, the phantasm, the psychoanalytic body. The body that is joined to the world, of which it is a part, which it composes and which composes it; and the body that removes itself from the world into the darkness ow what it has lost, there to come alive.

*Lefort, Claude. “The Interposed Body.” Writing, the Political Test. Durham, NC: Duke University Press, 2000.

And so for day 3167
13.08.2015

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Swatch

Phoebe Wang
Waking Occupations

the chartreuse smear of lichen

And so for day 3166
12.08.2015

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Blade in the Sky

Douglas Chambers
Trinity Review
January 1982

The rain falls in screes, a crow
Sickles the hills; the goats move
Toward the hedgerow.

Meteorological movements of beasts.

And so for day 3165
11.08.2015

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Sewing by Scent & Sleep

Patrick Phillips
“Work-Clothes Quilt”
Elegy for a Broken Machine

no matter how brown
with his sweat, or stiff with his blisters,
or blooming his roses
of pine sap, and gear grease, and blood—

[…]

she stands by the bed
and breathes his last scent,

then wraps herself
in it and sleeps.

And so for day 3164
10.08.2015

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Worlding

Maurice Merleau-Ponty
The World of Perception

From the introduction by Thomas Baldwin

[…] perception is the capacity whereby there is a world it cannot be just another fact within the world. […] our perceived world is structured by a plurality of overlapping perspectives within which different aspects are somehow seen together, as aspects of just one world.

And so for day 3163
09.08.2015

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Advice & More Advice

Rachel Rose
Thirteen Ways of Looking at CanLit

Only love. So critic be useful. Touch the body of work with
  sure but careful hands. If the body is unlike your own, be
  less sure and more careful.

And so for day 3162
08.08.2015

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Salvaging

Three three-liners cannibalized from a longer manuscript:

turning the body
as gate
canal sunflower

tarnishing a scar
paste diamonds
taste bitter

and the colours of flags
fade faster
than bruises blush

And so for day 3161
07.08.2015

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Composition and Conversation

From a letter to a friend …

Camera in hand or not, would you consider the interplay of framing as a dance with the object of contemplation, a dance that supports remembering the object of contemplation?

I am led […] to consider the naming of plants I spot on my wanderings. In a sense a name plucks a specimen out of the unorganized background of vegetation. A name evokes a family, a season, a growth cycle. A name is an index to stored knowledge. And yet there are limitations. I can easily identify a rose but not know the variety of rose it might be. At times I enjoy inventing names for varieties: peonies have been known to receive this treatment. A name, like a framing, is the beginning of a conversation. A turn in storytelling.

You have me thinking of “composition” as a positioning with …

… to reach out and hold the world with the ghost of interlocutors in mind.

And so for day 3160
06.08.2015

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