5c dailies

(daily tweets too brief and transitory for the unabridged 5¢ense):

Q4|2010 5¢ daily ARkive[r] :

Dec 2010

¢ 2nd day of flood-induced fly-by touristic running: crossing isola tiberina past synagogue along lungotevere through campo d'fiori & piazza navonna zig-zagging on sampietrini cobble-stoned streets [wearing my new Nike Free 7.0nike free 7.0 which i endorse freely] & up the spanish steps looping around villa borghese back down & around piazza popolo past ara pacis back across the tiber past castel sant'angelo & st. peters [waving hi to baby jesus in the manger] back along lungotevere | headed south now to see where the starlings went—off the grid for a spell | see y'all in 2011 ||

¢ filled our bellies with Roman sushi last night for x-mas eve/our anniversary | woke up & river's flooded again so ran through deserted streets up capotilini hill [killer steps] past Mussolini's typewriter past the foro around the colosseo past constantino's arch & palantino hill up around the thermals of caracalla thru san saba up aventino hill & back down across the muddy river | then had a rankin/bass x-mas-fest drinking hot canela tea spiked with sambucca | happy holidays to all ||

¢ finished BergBerg by Ann Quinn ... most haunting & well-crafted book i've read in a while—with language bended like Beckett & the existential page-turning grip of Dostoevsky | thank you Dalkey Archive for saving her from disappearing completely off the shores of Brighton Palace Pier ||

¢ «This is not a simple matter of going outside. When one goes out into the world, one is shedding preconceptions of past paths and ideas of past paths, and trying to move freely through an unsubstantiated and new geography. So, one goes out into the world, and then one wanders about.»—Jesse Ball: The Way Through Doorsbook ||

¢ horiZontal x/sectIONal slic/e/Xcerp(t) from Ark Codex 0:3:14:

Ark Codex 0314

¢ unauthorized tour of Paris underground on Sleepycity:

Paris underground

¢ «There is a simple general formula for the signifying regime of the sign (the signifying sign): every sign refers to another sign, and only to another sign, ad infinitum. That is why, at the limit, one can forego the notion of the sign, for what is retained is not principally the sign's relation to a state of things it designates, or to an entity it signifies, but only the formal relation of sign to sign insofar as it defines a so-called signifying chain. The limitless of significance replaces the chain.»—1000 Plateaus1000 plateus ||

¢ students are at it again in Rome today—battling police & Berlusconi with "book-bloc" tactics [displaying their favorite books on their shields—a strategy devised by Roman Sapienza/Wu Ming & now evidently spreading to London student protests | talk about "fighting words" [my hero's the 1 toting Deleuze's 1000 Plateaus [in blue] though Don Quixote is also an interesting choice]:

Book-bloc Deleuze

¢ Deuteronomy 22: «3 And you shall d]o [the same with his donkey], you shall do the same [with hi]s [garment, and you shall do the same with every lost item of your neighbor's, which he loses] and you find—you m[a]y not ignore it. [4 You shall not see your neighbor's donkey or] his [ox] fallen down on the road, and ignore th[em]; you shall certainly help [him] lift [them up]. 5 A woman sh[all] not wear [a man's clothing], nor shall a man pu[t on] a woman's garment; for whoever does [these things is] an abomination to the LORD your God. [6 If] a bird's nest [happens to be] before you on the road, whether in any tree or on [the ground, with fledglings or] eggs, and the mother is sittin[g o]n the fledglings or [on the eggs], you shall not take the mother [wi]th [the fledglings. 7 You shall certainly let the mother go, but you may take the fledglings for] yourself,  [so that it may go well with you and you may prolong your days]. [8 When you build a new house, then you shall make a parapet around your roof, so that] you may [not] bring [bloodguilt on your house if anyone falls from it]. [9 You shall not sow your vineyard with two kinds of seed, or the wh]ol[e yield will have to be forfeited, both the seed which you have sown and the yield of the vineyard.»—The Dead Sea Scrolls BibleDead Sea Scrolls ||

¢ Herzog's take on X-mas:

¢ «It was there one morning when I went to get a glass of water from the pitcher in the fridge. I went back upstairs & took a shower just in case this was a dream. She said But if it was a dream, wouldn't you just be showering in the dream? I said When I got back down the iceberg was still there. I ran some hot water in the sink until I couldn't see it anymore.»—Sasha Fletcher: When All Our Days are Numbered... ||

¢ starling status update on Clusterflock: For the Sounds of Death Drive Us Further South ||

¢ «When those patterns break down—as when a hiker stumbles across an easy chair sitting deep in the woods, as if dropped from the sky—the brain gropes for something, anything that makes sense. It may retreat to a familiar ritual, like checking equipment. But it may also turn its attention outward, the researchers argue, and notice, say, a pattern in animal tracks that was previously hidden. [...] The new research supports what many experimental artists, habitual travelers and other novel seekers have always insisted: at least some of the time, disorientation begets creative thinking.»—How Nonsense Sharpens the Intellect ||

¢ sub-freezing temperatures & no heat or hot water for a few days now | going into hibernation ||

¢ it snowed today in Rome—who would've thunk | accompanied by thunder even | until now my experience with snow in Rome was limited to that scene in David Markson's Wittgenstein's Mistressmarkson wittgenstein where she watched Piazza Navonna fill with snow ||

¢ books read en route to/from or in NYC: { Jesse Ball: The Way Through Doorsbook | Redvider 7.2 | Fence summer 2010 | Bomb 114 | Sasha Fletcher: When All Our Days are Numbered... | Malcolm Lowry: Under the Volcanobook} | rated/reviewed them on Goodreads | also re-read [in an editorial capacity] forthcoming collection by Chiara Barzini | other books picked up not yet read: { Luigi Barzini [Chiara's grandfather!]: The Italiansbook | Ninth Letter 7.1 | Grace Krilanovich: The Orange Eats Creepsbook | David Foster Wallace: Everything and Morebook | Martin Heidegger: On the Way to Languagebook | André Breton: Dossier Dadabook | Robert Graves: I, Claudiusbook | Georges Bataille: The Absence of Mythbook | Millicent Marcus: Italian Film in the Light of Neorealismbook | John Haskell: American Purgatoriobook | & 3 dual-language books of Italian short stories & poetry } ||

¢ Lanny Quarles cross-section in the context of the CONTRORIVOLUZIONE DIGITALE IN ARCHITETTURA on GAMMThe architecture of the Digital Age does not necessarily lead to the rejection of previous approaches, but on the contrary, the appropriation and distortion of these approaches, the architecture should be more applicable, livelier, easier, more playful, more hybrid, more "real."»]:

Lanny Quarles

¢ back home in Rome with a belly full of books & tacos & sushi ||

¢ leaving the boot of Italy for the first time in almost 7 months & going to New York tomorrow—not that i particularly miss America but we have free tickets to burn | i'll be without phone or computer (just like the good ol' days) suffice to say you'll find me where there's sushi or tacos & prose & hopefully no bedbugs ||

¢ from Pierro's Rag: dead letter mimeo

¢ biked to EUR for Più libri più liberi, Rome's small press bookfair | picked up Ericailcane's Numero delle Bestie || Ericailcane is the street artist who i saw in action in Torino that does these amazing videos too ||

¢ György Kepes cross-section [via But It Does Float]:

György Kepes

¢ sneak peak at some of the first finished pages of Ark Codex & some images of the flooding Tiber ||

¢ Phil Bebbington on photography [via Clusterflock]: «I think it is about human stains. The mark we leave when we vacate for whatever reason. I think what we leave behind/discard, how we move on, says so much more about us.»:

Phil Bebbington

¢ interesting fodder on AHSASHA on understanding & translation: «The way that humans digest the world is by organizing it into time and language. For each of these processes to be successful (for digestion to avoid dyspepsia), there must be room for forgetting. [...] Translation is potentially this kind of digestion—the flattening-out, or forgetting of unintelligibility, diversity, possibility.» | & «It seems that bad/dangerous translation (or works of literature for that matter) are those which fail to lay bare the queerness of the foreign. To say the foreign is “queer” is to say that is de-stabilizes and de-naturalizes our comfortable assumptions about expression and legibility.» | for example i'm currently reading the dual language Heart of Darkness/Cuore di tenebra & all the racist & sailor language is softened out—so how can it even be called the same thing? | i never understood why intsead of "translating" a work of literature that other writers in that language don't "cover" (as in music) or "remake" (as in film) a book [besides the few obvious examples like Ulysses]? | people need to take more of a cue from Deleuze & Guattari & learn to treat content & the expression of that content as separate entities | more on that in a longer post to come ... ||

¢ cross-section of vintage 19th century italian marbled paper [more marbled paper designs & how they are made on Bibliodyssey]:

vintage italian marbled paper

¢ c'è un pezzo di Ark Codex in the latest Black Warrior Review—qualcosa labeled 0 but is now 0:1: [vale a dire che ci sarà un 0:0: precedente] ||

¢ living up to my name & using fresh calamari to write/draw | evidential results when ink dries | j—guess what's for dinner? ||

¢ final installment of Sleepingfish iX posted—6 images by Ragnhildur Jóhannsdóttir ||

Nov 2010

¢ anche se non mi piace navi da crociera [or at least the idea of them—i've never actually been on one] we were on a cruise ship last night | there were elephants swimming/walking on just their hind legs with their front legs propped on the stern | with their trunks they reached out grabbing whatever we'd feed them | i was giving them peanuts | our «families» were on the cruise ship with us—k was there with some of her friends & they were all kissing each other | some were lesbians but there was some cruise ship rule that if you kissed someone on the lips straight on [so your noses touched] then that «didn't mean anything» even if mouths were open French-kissing | it only «meant something» if mouths were skewed at an angle relative to one another | i was feeling claustrophobic & wanted to jump in the water but i wasn't sure if i could swim as fast as the ship & didn't know how far we were from land | mostly i didn't want other people to worry about me & necessitate some rescue operation | there was some young girl [a cousin presumably] there holding a large scorpion | i asked her if the scorpions «here» [as if the cruise ship was a foreign country] were poisonous & nobody knew for certain | but the girl apparently had been stung & was dazed as if she was drugged | she just let the scorpion go & nobody cared but i wanted to kill or at least capture it | i chased it with a stick but it ran into a pile of debris & started burrowing into a large yam/tuber | it was digging really fast with all its legs & chunks of yam flesh were spitting out of it | i at least wanted to see the scorpion to verify what it was so i kept trying to get an angle on it where i could positively identify it | j was trying to get photos of it with her macro lens | i became obsessed as if seeing this meant more than seeing the scorpion but into the very heart of the dark side of nature | it was rustling & scraping & making a caterwaul of noise with debris spraying out of it | finally i got a brief glimpse of it & what it was was the scorpion holding up a cut-out image [on a stick] of Fela Kuti | Fela was holding a fire hose that was spraying debris right back at us so we couldn't see clearly | apparently the scorpion didn't want us to see its true identity & this was its response | i was trying to tell other passengers what i saw—that the scorpion was Fela Kuti holding a fire hose—but no one believed me | i asked j if she got it on film & she whispered that she did but not to make a fuss | i wanted to see it but she said one of the rules of the cruise ship was that whatever «art» you made on the cruise ship became the property of the cruise ship when you disembarked & this photo of the scorpion holding up a cut-out of Fela Kuti with a fire hose would be considered art | but the fact that it was a digital camera got us off the hook—as long as we didn't look at it [collapse the wave function]—until after we got off the ship | i looked over the side of the ship & saw land so i grabbed a mask & dove into the sea | from underwater i watched the cruise ship maneuver into port | whatever direction i swam in i seemed to be getting in the way | i thought i might get arrested for jumping ship but no one seemed to care | i swam ashore & waited for the ship to unload—waited for j così ho potuto vedere la foto dello scorpione travestito da Fela Kuti in possesso di un tubo antincendio ||

¢ D&G putting into words why i've been leaning more & more towards the abandonment of mass-produced books [& straight-up text] in favor of original objects: «At any rate, what a vapid idea, the book as the image of the world. In truth, it is not enough to say, "Long live the multiple," difficult as it is to raise, that cry. No typographical, lexical, or even syntactical cleverness is enought to make it heard.  The multiple must be made, not by always adding higher dimensions, but rather in the simplest of ways, by dint of sobriety, with the number of dimensions one already has available—always n – 1 (the only way the one belongs to the multiple: always subtracted). Subtract the unique from the multiplicity to be constituted: write as n– 1 dimensions. A system of this kind could be called a rhizome.»—1000 Plateaus ||

¢ back home in Rome after snow almost delayed us up north | the opening was great [thanks to all at Spazio Meme][& there's still art & books on display/for sale until December 17] ||

¢ in conJunction with CTRL+C Festival—[Calamar +] i will be eXhibited some art + books at Spazio Meme in Carpi [Italy] starting 27/11/2010 at 19:00 [if you happen to be in the neighborhood] ||

Derek White

¢ headed north to Carpi for this thing above ||

¢ in light of Thanksgiving—here's my starling coup du jour [the recent floods & cold seems to be sending them further south]:


¢ speaking of self-reference & flocking formations [hat tip to Jeremy]:

¢ «The untaught peasant beheld the elements around him and was acquainted with their practical uses. The most learned philosopher knew little more. He had partially unveiled the face of Nature, but her immortal lineaments were still a wonder and a mystery. He might dissect, anatomize, and give names; but, not to speak of a final cause, causes in their secondary and tertiary grades were utterly unknown to him. I had gazed upon the fortifications and impediments that seemed to keep human beings from entering the citadel of nature, and rashly and ignorantly I had repined. [...] It seemed to me as if nothing would or could ever be known. All that had so long engaged my attention suddenly grew despicable. By one of those caprices of the mind which we are perhaps most subject to in early youth, I at once gave up my former occupations, set down natural history and all its progeny as a deformed and abortive creation, and entertained the greatest disdain for a would-be science which could never even step within the threshold of real knowledge. [...] Thus strangely are our souls constructed, and by such slight ligaments are we bound to prosperity or ruin.»—FrankensteinFrankenstein ||

¢ The Rubber Match by Robert Lopez posted to Sleepingfish iX ||

¢ an attempt at articulating what it is about the starlings ||

¢ my first interview in Italian [with the help of google translator] ||

¢ yesterday was jalapeño cornbread [for 20 people—as part of an early thanksgiving dinner for which [being the "only American male"] I carved the turkey] | today is 4-P soup { pumpkin | pepper | potato | peccorino } | tis the season ||

¢                          Joy Division

¢ on the similarities of transcription errors between genes & texts [paleography] in The Atlantic: «There are also reversals: metathesis in paleography and chromosomal transpositions in genetics. And point mutations, substituting the wrong genetic base when copying DNA, also occur in handwritten manuscripts. In both cases, the wrong letter is written, based on probabilities of being similar. In DNA, A and T are quite similar chemically and can be confused easily. In ancient Greek, lambda and delta look similar and are more likely to be exchanged as well. And the list goes on. [...] And in fact, the relationship between the fields has become more than figurative or expedient. Recent research has brought the areas of paleography and genetics together, through the examination of the DNA of the animal skins on which the texts themselves were written on. In the past few years, scientists have sequenced the genetic material of these ancient manuscripts, in order to determine what animals were used to furnish the raw materials for writing.» ||

¢ today marks exactly 6 months in Rome + i haven't even left the boot of Italy in this time ||

¢ interesting recent posts [ 1 | 2 ] on IDE(A/O)(B)LOG(Y/UE) about typewriters & the hand-mechanical: «The hand-mechanical occurs when a human being and a machine create as an assemblage, as a larger, creaking, organic and deliriously imperfect, machine.» ||

¢ slideshow of select shots from the library of Edward Tufte being auctioned at Christie's ||


¢ «The [Monotipias] are the result of a hitherto frustrated attempt to capture discourse at its moment of origin. What concerns me is capturing the passage of immediate experience in all its empirical force, into the symbol, with its memorability and relative immortality. I know deep down it is a matter of the following problem. Immediate life, the kind I suffer and within which I act, is mine alone, incommunicable and therefore devoid of meaning or purpose. The realm of symbols, which seeks to capture that life (and which is also the realm of language), on the other hand, is antilife, in the sense of being intersubjective, shared, emptied of emotion and suffering. If I could bring these two realms together, I would have united the richness of experience with the relative permanence of the symbol. To put it another way, my work is an attempt to immortalize the fleeting and to give meaning to the epehmeral. To do this, obviously ,I have to freeze the instant itself, in which the experience melts into the symbol--in this case, into the word.»—Mira Schendel [from Tangled Alphabetstangled alphabets] ||

¢ the Roman empire may have declined & fell but what's left is still collapsing ||

¢ Hofstadter on Type Theory: «In trying to recover, then, Russell, working with his old mentor and new colleague Whitehead, invented a novel kind of set theory in which a definition of a set could never invoke that set, and moreover, in which a strict linguistic hierarchy was set up, rigidly preventing any sentence from referring to itself. In Principia Mathematica, there was to be no twisting-back of sets on themselves, no turning-back of language upon itself. If some formal language had a word like "word", that word could not refer to our apply to itself, but only to entities on the levels below itself.»—I Am a Strange Loop ||

¢ from 1000,000 Fleeing Hilda by Ron Padgett & Joe Brainard [more on MIMEO MIMEO]:

Padgett and Brainard

¢ mining data from way back whence in ARCtic ||

¢ teVere's riSing chocKed full o mud + debris | 5 corvi cRow sulla floating LOG headed to SE∀ | riSing to ᓐ bRim [o ᓐ RIVE] o ᓐ riveR dove courseo ᕫpstReam || storni swarm ai campi accanto il SE∀ ||

¢ went from a house full of house guests to life in a big empty doghouse—not only did gli ospiti più recenti split back to Nairobi but j's in the air to DC/NYC | here's footage from our last bottle of wine on Isola Tiberina guardando gli storni ||

¢ ran under 17 bridges + oVer 1 [x2 RT]  aLong a Tiber | starLing shit sLippery ||

¢                     ark dinghy

¢ ha visto la mostra di Stanley Donwood ieri alla Mondo Bizarro + andato anche alla vicina MACRO—despite the flash of MAXXI the art housed within è molto meglio al MACRO [+ siamo stati gli unici lì] | Σome great stuff by { Jamie Shovlin | Mario Ballocco | Antony Gormley | Mario Schifano } + an interesting retrospect on Fabio Sargentini's legendary L'Attico gallery space in Rome ||

¢ 1 cosa non mi riCordo menTioned in The History of the Decline and Fall of the Roman Empire [di più comPosted qui] is the importance of agriculture & rural:urban ratio: «During the Roman Empire, there were approximately 9 people living a rural life to every 1 person living an urban life. Today, that ratio is closer to 1:1 (in the USA, it’s 1:3). Ancient populations could not allow for such a ratio simply because of the low marginal return of human/animal based agriculture. All of the ancient world’s social complexity- the religious institutions, the armies, the governments, the urban and nonproductive citizenry- were supported on the relatively low marginal yields of annual human/animal agriculture. This had a number of consequences, most notably that ancient society was susceptible to the effects of variants in agricultural output (weather, pestilence, soil salinization, marauders, etc). Ancient society could only exist within the limits of the marginal yield of its agriculture, but when circumstances led to a collapse of that marginal yield, so too did that society collapse. Inversely, ancient society could only solve problems within the capability that the marginal return of human/animal agriculture allowed.»—source ||

¢ «chi ha lingua passa il mare»—Leonardo Sciascia [or according to Avril Bardoni: «with a tongue in your head you can travel the world»] ||

¢ «Where the river’s beaches will meet and where the thinnest needle of silver of liquid will drill its dark tunnel-water straight into the heart of the dying image, the moist up-loosened surface of paper which we cling onto.»—Aase Berg [translated by Johannes Göransson] in Lamination Colony ||

¢ AFTer BEing up in UMBRIA + TUSCANY watching leaves change i got to thINKing aBout grapheme–color synesthesia + what that must be like . . . does it work in reVerse? [does a synesthete associate graPHemes with colors [in which case SEE a forest of colored trees [or for that matter abstract paintings] as blocks of text]]? do they distinguish between lower + upper case? have any books been written by ± for synesthetes? can a non-synesthete understand [± make reputable observations about] grapheme-color synesthesia? can a synesthete understand his ± her own condition in terms non-synesthete's understand? Ramachandran + Hubbard claim that the trade-off to synesthesia [be careful of what you wish for] is that synesthete's can't understand metaphors—[or is it more that non-synesthete's can't understand a synesthete's IDea of metaphor?] Richard Feynmann was supposedly [+ unknowingly] a synesthete but i distinctly remEmber him using metaphor in his books [most notably being led to QED by tossing a cafeteria plate into the air] | who is any 1 to say ||

graheme-color map

Oct 2010

¢ posted reticient thoughts on Turin just in time to tUrn aRound + go back to the hermitage in Spoleto [this time staying in the room where popes Pio XII + Paolo VI have stayed] ||

¢ più ospiti in da house—may as well call via Titta Scarpetta 28: «D&J B&B» | the guests of the week are leadbelly & logo ||

¢ ᓐ piece of ∀RK Cŏd∃x [LassÖing c[a|R|aw]iBou] in Lamination Colony along with pLentiful elΣe bountY to FEED on ||

¢ [∀ll narrators are unreLiable so why not just call it fiction & appreciate it for that]: «For Deuteronomy 7:15, one of the scrolls has been corrected in an interesting way. The original reading in 5QDeut is very much like that found in the Masoretic Text and the Samaritan Pentateuch: ". . . none of the evil diseases of Egypt, which you know." However, 5QDeut has then been corrected with two additional Hebrew words, written above the line containing "which you know," to produce "which you have seen and which you know." This longer reading, which is also found in the Septuagint, makes the evil diseases of Egypt more vivid to the listeners by recalling that they have personally witnessed them. An important question for scholars is whether the corrector here is merely fixing an error, is attempting to make his text more vivid, or is deliberately altering the original reading to make it conform more closely with another text (in this case, one mirroring the Septuagint).»—The Dead Sea Scrolls Bible ||

¢ the most expensive book in the world [Audubon's «Birds of America»] hits the auction block—[for what it's worth]—along with what is regarded as the most important book [Shakespeare's «First Folio»] + others from the collection of the 2nd Baron Hesketh: «The collection was built up by successive generations of the family, and shows the best of every aspect of the bibliophile's endeavour: typography, illustration, literary, illumination, historical importance, and fine binding.» | if i had such disposable income i know what i'd do with it ||

¢                                              Stanley Donwood in Rome

¢ ItEngliano haikU del giorno [«casaLingo ru-Terns»]: messo [H]ome in [R]ome / il baffi's coming off e / storMi sWarming for to se∀ ||

¢ just touched the tent of Reinhold Messner [the one he slept in while climbing all 14 of the 8000+ meter peaks] ||

¢ gorged at Salone del Gusto yesterday | today hitting museums & bookstores & searching for the shroud ||

¢ «He explains . . . a "special strategic train . . . and then what? . . . going where? . . . no name given! . . . this didn't look so good! . . . coal-burning engine . . . no soot! no smoke cloud! . . . Le Vig must have known all this, all these advantages, this "special strategic" tourism . . . he'd drop us all the same! . . . must be some plot . . . coooking up since Moorsburg . . . to ship the two of us, Lili, me, and Bébert, off someplace . . . and him, Le Vig, the Christ, to the sun in Rome! . . .»—Céline [... reading RigadoonCeline on the [express . . . sootless . . . sans chat] train ... from Rome to Turin] ||

¢ a pictorial study from Sardegna this past weekend |  tomorrow it's Torino for a spell ||

¢ 10 by David-Baptiste Chirot posted to Sleepingfish iX  ||

david-baptiste chirot

¢ speaking of starlings:

¢ «Everything around us becomes part of us, infiltrates us in our carnal or vital sensation, and the web of the grand Spider subtly ties us to whatever is at hand, binding us in a light bed of slow death, where we rock in the wind. Everything is ourselves and we are everything, but of what use is it, if everything is nothing? A ray of sunlight, a cloud that a sudden shadow says is passing, a breeze that rises, the silence that continues when the breeze stops, one face or another, sometimes the unintentional laughter among women talking, and later the night where the broken hieroglyphics of the stars appear without any meaning.»—Fernando Pessoa [The Book Of Disquietbook of disquiet] ||

¢ another interesting email rëCeived today word-for-word: «Excuse my same english. I am a teacher and now i work for a german grammatik work for childrens in switzerland. Any text for training are texts about storys with interesst. One text are over Ethiopia and now i have ses a picture over landscape tigray. I will visit this picture in my software «Linda-Klick». Naturelment can user see, that this picture is fran you.» | what more could be saID but «OK» ||

¢ prᓰor«i» rëCeived an email this moUrning with the subject: «Establishing your name» | i almost deleted it as spam but ends up it was for ℜeal [in a Platonic ± Borgesian sense]—some cataLogger of Libraries was atTempting to «establish my identity in a unique form» for ∫ome ∫ort of «OCLC WorldCat» DataBase | rather than cling to antiQuated notions of primitive thisness ± personal identity [which will only circuitously lead back to the meaningless statement: A=A]—«i» suggested she try a more mutually exclusive approach & IDentify «Derek White» [the mutex body] by ever(y)thing «i» am not | there's also further head-scratching self-referential conunDrums to conSider wHen asking an inDividual to IDentify his/her same-self + what hapPens if saID inDividual: { changes his/her name | beComes schizophrenic | his/her next book object is authorless [± the author is in fAct synonymous with the title [i.e RK Cŏd∃x = RK Cŏd∃x ± «∀RK Cŏd∃x by ∀RK Cŏd∃x»]]}? should not the IDentity for ∀ll ∀uthors be estaBlished on a book by book basis [± should not the ID of artists be estaBlished by each art object as the IDea of an inDividual [a mere meme machine] is unbridled vanity as the spatiotemporal IDentity is continuously in flux ± mired in loopholes if you stop to thINK aBout it | the recent rePlacement of bands with «projects» in the music world is a step in the right direction but the rest of the art world needs to catch up | & is this ∀RK Cŏd∃x yet another Ship of Theseus ± is it's builder not my self-same grandfather's aXe? ||

¢ the starLings are back in Rome for the winter | here's some footage & inSpired art from last year before we lived here | & here's also some shots in SEED | they are saying something | to be continued ... ||

¢ P0S+iTs [self]contained feeding inStructюns + GENiEral care guid|lines for A nimaᒻᒧ | from what H.E. gatHEReD ᓐ «cultᕬred speciæs of ARctѥK CHARd» were liBrarerated to come + go thrᕫ 3 h◉les in ᓐ hᕬlle || + whilst ᓐ ARctѥK CHARd preoccu[pied tHemSeleeves with scaleloPed] dentures in ᓐ bilge—H.E. implan(t)ed əlectr-o-magne-tѥ tracӃing deVѥes on t]Hem to help a\Vec nose proper NAVigatюn || [əvIDenturely ARctѥK CHARd sPawned oVe(r) raked substraits ± «gRaveL shoæles» at suffѥient depths to shield «hiVer» ѥe | theSe eStablėShed ᓐ s[ame-s]ome «Qu'ALM rëQuirements» H.E. had for NAVigating ᓐ ARK] [3:10] ||

¢ why they call it CELERY & why you put it in soups [magnetic resonance scan from Inside Insides]:


¢ from an article in Salon on Romani literature [or the absence thereof]: «If the Roma -- or the Gypsies -- are known for anything beyond the traditional clichés of lying, cheating, stealing, it is a historical distrust of the written word. As Europe's most consistently persecuted minority -- having suffered through centuries of slavery, the Holocaust, and an ongoing dose of government-sanctioned racism -- they are recognized primarily as an oral culture. There is no great Gypsy poet who has been acknowledged across boundaries. There are few writers who have given voice to the 12 million people of Romani heritage around the world (almost the same number as there are Jewish people). There is no overarching book, or myth, or written structure around which the Gypsies have gathered. In fact, apart from a few notable exceptions, there is very little literature about the Roma at all.» ||

¢ marginalized & endangered language du jour—rromani ćhib [a.k.a. Romani or gypsy or रोमानी छीब]: «Romani is a macrolanguage in the ISO 639 classification, taken to consist of seven sub-languages or major dialects... Analysis of the Romani language has shown that it is closely related to those spoken in central and northern India... Loanwords in Romani make it possible to trace the pattern of their migration westwards... The Romani language is sometimes considered a group of dialects or a collection of related languages that comprise all the members of a single genetic subgroup.» & on the script it is written in—Romani orthography: «Written Romani in the 20th century used the writing systems of their respective host societies, mostly Latin-derived scripts (Romanian, Czech, Croatian, etc.)... the most common pattern among native speakers is for individual authors to use an orthography based on the writing system of the dominant contact language: thus Romanian in Romania, Hungarian in Hungary and so on. A currently observable trend, however, appears to be the adoption of a loosely English-oriented orthography, developed spontaneously by native speakers for use online and through email.» ||

¢ «We have all suffered our enchantments with authors and their work—in any case, the ideas behind their work, those men and writing living and dead, profound and unfortunate, genius and talent, imaginary and real; but to be related—by blood, so to speak—to such a literary adventure, pregnant with intrigue and notorious figures, might well prove to be far more than I can endure, more than I can understand. I can forgive men's ideas and sometimes their actions, but not their imaginations. For more than not they lead to this, a regressus in infinitum.»—Frank Stanford [Conditions Uncertain and Likely to Pass Away] ||

¢ «Now we know that something stringy in me must have just unstrung itself even more.»—Gary Lutz [from Fathering in Noon 2010] ||


¢ a steamroller & a truck loaded with steaming tar barreling down the cobble-stoned Tiber-front i run along every day—ahhh never have i so loved the smell of asphalt in the morning | my achilles thank you oh Tiberinus ||

¢ «Per un anno tutti i libri siano pubblicati senza il nome dell'autore, di modo che critici e lettori si confrontino davvero con i contenuti e non con le mode.»—Michael Foucault [via Luccone] ||

¢ j [the mouth i cook for every night] takes a more holistic [& less reductionistic] view of FOOD on urwhatueat ||

¢ DEtourism & [Umberto] Eco-tourism [what i've been up to the past few weeks] ||

¢ an eXcerpt from Stitches of Light by Michael Zell posted to Sleepingfish iX ||

¢ footage of Victorian experiments in animal + human motion shot in 1877 + projected by Eadweard Muybridge's 'Zoopraxiscope' [16 years before the Lumiere Brothers]:

¢ found €5 running along the river | that makes $20 + €5 that i've found running so far this year | unfortunately i'm superstitious about spending found money so next gypsy or reader of these words [in europe] that ask gets it ||

¢ On September 30, 2010, a journalistic genre passed away: the mock obituary marking the purported demise of a linguistic phenomenon. According to the coroner's report, the cause of death was rampant overuse... read the rest on Language Log ||

2010: Q4 | Q3 | Q2 | Q1 | daily ARkive[r]

2009 daily ARkive[r]

2008 daily ARkive[r]

2007 daily ARkive[r]

2006 daily ARkive[r]

2005 daily ARkive[r]


cuRRent & ARkiveD 5¢ense bLOGjects

(©omPosted|tranScribed) 2010 Derek White / Sleepingfish / Calamari Press