Abstract: Beginning with site-specific documentation of urban and industrial landscapes, this post accumulates fragments of text, symbols, and architectural motifs as a means to investigate typographic deconstruction and ‘semantic decay’—the erosion of language into abstract visual forms. It provides a foundation for broader inquiries into narrative structures and the dissolution of traditional linguistic boundaries into artistic synthesis, offering unconventional advice for writers and creators seeking to transcend normalized genres. By employing techniques of digital collage and analog rearrangement, including a custom-designed album cover and food-related multimedia equations, the study ultimately seeks to link disparate projects through a shared focus on iterative process, cross-genre synthesis, and the balance between chaos and intentionality, posing questions about the nature of narrative, the limits of legibility, and the transformative potential of abstraction in art and literature.

11.10.2024 ii di9s the5e sighingingtific ab5traX 5carLit rites! mite make ^ habit of iT 9oin9 FWD, convenient 4 them 2 LayZ 2 reɘd the hole po5t + want ^ 10,000 ft recap + perhaps 4 ii, in8 iD, 2 learn fROM, 2 strive 2 communic8 bedder + keep thRivin9 in 5teady st8 solutions + fRom what 5carLit te||s ii bedder 2 inkrease SEO b/c openin9 text = important 4 ye web sπ-ders (5he had other recommend8ions B-yond mi Limited ability (+ D-zire) 2 integr8)

> dont think ii + jj halve done ^ REMaphattan 5tro|| in they're one hood in ^ wile? ^n iRL 5treɘt wanderin9 transL8ed 2 URL > Last they Left off, jj had 2 ca|| 911 wile ii kɘpt sum 1's brains fROM 5pi||in9 out on2 the widesalk on 124^th 5treɘt + after the f/u police interrog8ion they dint no waht 2 do w/ them5elves ∴ vvalked 125^th + 126^th ≈ zom-Bs in 5hock B4 5pendin9 the rest of day in th ER @ Mt Sinai 9ettin9 vaccin8ed/meds 4 blood eXposure fROM ^n UՈՈone 5ource > ƧO 2day contiՈUed baↄk + 4^th acro55 127^th, 128^th, 129^th + 130^th (actua||y, L👀kin9 @ the map iT L👀ks az iF they 9ot D-railed + mi55ed 128^th but hit 131^st in 5tead) + dint flâneur in the same D-tale az 10 yrs a9o ... in faↄt, the5e = 1^st 5treɘts ii + jj walked 2 kiↄk off th ori9inal Maphattan Project (5ince they lived on 125^th) in 2014

[◼]in9 2 [▶] h&ba|| on 128^th

came home + whipped up another batↄh (tis the C-zun) of pepper pot punkin soup (cliↄk on img 4 hire rez + 4 D-taled recipe see post 1181)

> 11.13 > X (input – output) = 5tory of in8 iD's Life, i/o, i/o iTs off 2 werk ii go (w/o co||ectin9 $200) > ƨo muↄh of ii's «writin9» the5e dayz amounts 2 email correospondence + editin9 (comments in traↄk chan9es mode + whatnot) > used 2 B ii kept iTs inbox UՈder 50 now ii stru99les 2 keep iT UՈder 100 (n0t nessysorri|y emails that knead addressin9 but ii keeps the L8est in the baↄk + 4^th or az reminedr 2 f/u) > 4 eggsample, thi5 mournin9 ii wrote ^ 1461 word email + another 672 word email 2 ri9hters who's m^nuscrypts ii's editin9 + iT's 5ti|| 08:33 AM ... + thi5 dozent inkloot a|| the persunal comments in traↄk chan9es mode > in ^ recent .doc ii edited ii estim8ed ii'd writ-10 more wurds in the comments + edits than th ori9inal .doc had! n0 1 evɘr seas NE of X when they read the pubLished b∞ks, a|| them key5trokes «will be lost in time ≈ tears in rain» az Rutger Hauer says in Blade Runner > ƨo muↄh of writin9 = about editin9, the 9host trazes of witch disentegr8 B-tween the Lines

> on X note, 4 the [●], 4 NE 1 dat mite fined such edvice usefool, ii'|| inkloot sum tidbits B-Lo (5tripped of NE 5pecific ± personal D-tails) ... + az ii always te||s ppl, take iT a|| w/ ^ 9rain of NaCl, X = comin9 from ^n out5ider Rtist who has nvr taken ^ writing or Rt class in iTs Life [iF u want real writing advice from sum 1 that actua||y nose how 2 rite, ii su99ests Peter Markus's work5hop or The Gotham Grammarian (+ iTs free, how a|| 5hit shd bee on Inurnet, ur welcome)]

[...] whenever I start reading a book that takes place in a bar or café, I lose interest. And I’m not a fan of lots of dialog, it’s a hard thing to get right, very few people do it well. Your best writing is when you’re in your head thinking about it, not when you’re linearly recounting X-said/Y-said-dialog or giving the play-by-play of a sequence of events (especially when it’s in a bar or café).

One way to handle dialog is to revert to script format, [...] Not only does that make it less awkward w/ how the dialog is presented, but it enables you to step out of your shoes + see things as an outsider, like you’re having an out of body experience watching yourself, it enables you to be more objective about your situation. Or paraphrase without quotes. But the line after line of dialog can get tedious, unless you’re David Mamet

[...] rethink the sections of more conventional story-telling as maybe you’d write them in a journal, or blog, or how you might tell a friend [...] Then it’s more natural storytelling, and usually you’re more concise and to the point.

[...] think about who the audience is. Do you want the reader to think you sat down + wrote this for the sake of writing a book [...] a bit of framing of the circumstances under which it was written might make it seem more genuine + compelling

[...] read the book out loud as if you’re reading it to an audience + imagine their reaction, reading it aloud always helps to find what works + what doesn’t, or if a sentence is awkward. 

[...] in dialog you often say things twice in different ways, or you use multiple adjectives + adverbs (which again, I’m not a fan of) just pick the best one. You mentioned bonsais + you’re an aspiring botanist, think of it like that, trimming away the superfluous growth so you can see the beauty of the core tree. 

[...]

Self-editing is hard for most pepole (me included), it’s good you are able to be self-critical. That said, I think I heard Tom Petty once say (when asked about what it’s like to hear yourself singing) that no one likes the sound of their own voice, except Rod Stewart! It’s normal to not like the sound of your own voice, and in regards to writing I wish more people had this attitude.

Anyone can write, but not everyone can self-edit. And to make it not seem so “story-telly” maybe reframe them as if you’re writing them in a private journal or forum, because as it is, yes, the first part does at times feels like you were writing for a writing workshop. [...] call me a navel-gazer, but i also think writing about writing is really all there is to write about (big Charlie Kaufman fan).

[regarding writings the writer want to throw out] Have you ever tried erasures or cut-ups? Or even physically using the texts to make art [...] take the writings and cut them up + reconfigure them, or make erasures out of them (if you’re not familiar w/ erasures, A Humument by Tom Philps is a good place to start, he pretty much invented the technique).

[...] Take your time + get it to your liking, I want it to be something your future self is proud of in 10 yrs. That’s the other thing I hear a lot, is writers so eager to get published that then years later look back at their early works with regret.

11.11 ^ few dayz ago ii maid X cover 4 the 5oundtraↄk 2 Nicholas Rombes' Lisa 2, v1.0, by Mike Shiflet

> ii had the echoplex img on my de5ktop 4 sum time (o the daze when FX petals had actual tape Loops in 'em!) wonderin9 what 2 do w/ iT + thi5 seamed the rainy day ii was w8ing 4 (iF/when u hear iT u mite underst&) + 5ince we D-sided 2 n0t put iT on cassette ii cd sti|| give that skeuomorphed impression ... but iT 9ot nixed (L👀ked 2 much ≈ «product shot» ... point taken, tho that was sorta the point) ∴ maid this alt 1, wtich fits the b∞k bedder @ NE r8, watta u think?

az ii said, we thawt 2 put th album on ca55ette (2 matↄh the '80s retro-teↄknology 5htiↄk) but seams n0 1 bys tapes + they ju5t accumuL8 in the 9et-hi9h-off-the-5upply closet (converted «powder»-(yr-nose) room @ Ↄalamari HQ) > Shiflet's gna put iT (di9ita||y) up on B&camp + ii up9raded Ↄalamari's DistroKid acct (that distributes yr media 2 online retailors (Spotifys + Apple Musics of the whirled), ^ sorta di9ital rack jobber) ∴ Ↄalamari can halve up to 100 diffrent Rtists now, officia||y ^n indie label! (B4 ii onely cd have 2: Sound furies + UՈknown Artist 22/11/66) > hint, hint ... if U = mu5ica||y inkLined, e5pecia||y w/ litterairy connexions > + ii can alƨo [●] music UՈder ^ diffrent name ≈ 90° AngeLs, 4 ^ wile now thinkin9 it'd B cool 2 [●] ^ 5oundtrack 4 ^ film that dozen't Ǝxist or just pure drone/noize, ab&onin9 compo5ition al2gether

Ↄalamari now = official indie record label

alƨo RCVD fizzical ↄopies of Emilio Carrero's Autobiography of the [Undead], ∴ 5chLeppin9 2 the PO az ii rites thi5 > if U want ^ copy let Cal know

movies [▶]ed [input] thi5 pa5t weɘk:

• Paddington II -- good stuff ... Y is iT th onely films that make ii cry feetsure animals or robots (ii cried in both 5hort Circuits I + II + may-B even WALL-E if there was ^ tearjerkin9 end)
• Catch Me If You Can -- 4 2^nd time, 1^st time on ^ plane
• Wizard of Oz -- that time of year
• The Diplomat season 2 –– evɘn better than season 1, good writin9, actin9
• Songs of Earth -- gr8 footage + cinematography of Norwegian fjords + L&scapes, but wood of bin much bedder w/o humUՈs in iT
• The Co-Ed Killer: Mind of a Monster -- ii was Livin9 in Santa Cruz in the '80s when iT was ca||ed «murder capital of the whirled» b/c of ^ few cereal ki||ers in the '70s, Edmund Kemper beein9 the most notorious 1 of em + the most lucid + madder-of-fact recountin9 what he did (+ the documentary doin9 ^ 9ood job of tockin9 a6out the Lives Lost b/c of this n0t-so-9entle 9iant)

[if u feeL inkLined 2 comment on thi5 po5t u can on sub5tack, or re5pond 2 the chimp eMaiL if u R on the maiLin9 Li5t]