From: Bruce Stater
Subject: Fructiferous Society
Date: August 15, 2005 9:47:19 PM EDT
Hi tENT!
The package inn clew ding! Story of a Fructiferous Society & programs arrived today, the day before my birthday no less. Eye have only had time to watch the e-b/m once today, but EYE M very very imp pressed by what EYE halve (&halven't--explineation to follow)) seen. The individual language experiments "re(bi)cycled," didactivated, narredited to gather (bricoleurmaniacally) translucenate an NUther (NU) dimension of UR werk while documenting from point now to then (& vice versa) & coalens into fascinating & playful fructiferous history while tale-telling from point them to us (& versa vice). I'm very much aware of certain limitations I have in processing the layers of information which evoke for me laminae-- create a surface indecipherable on the first "reading." (for example: presentation of two or more visual texts "overlaying" the images ((themselves texts)) & simultaneous auditory texts ((themselves images)). Whatever I choose to follow I am bound to miss something offered to perception. Which is of course simply the perceptual challenge-- which is compounded to the interpretive challenge of following & synthesizing the narrative, funnelling it as allegory, inscribing it within a "whole greater than the summ of it's parts.") & this "problem" of limited attentiveness is very much linked to at least once conception of Adamic or Total language-- that expounded upon by Artaud & very endemic to the "psychotic semiotic"-- in which say, the meaning of an orange cannot be separated from the meaning of the color of the air which surrounds it, the noise of the room, the time of day, etc. etc. One thing I found very strikingly wonderful aboutthe "conception" of Adamic language here is that, unlike in certain avant-garde experiments as in Khlebnikov's essays or Schwitter's UR SONATA you id entitify at least two axes (probably many more) of Adamic language's participation with pleasure: the comic (laughter) & the erotic (kiss/language inscribed on the body. & these of(f) course intertwine. The labyrinth/garden/language of flowers metaphors/symbols/signs are particularly fruitfull if I may be permitted the pun since they are opposed to the maze & prisonhouse metaphor of language familiar in contemporary language and literary theory. ("One loses oneself in a maze; one finds oneself in a labyrinth." So there is for me a very Utopian feel here & at least imaginary (in what sense is the imaginary not real?) solution/way out of this cage. Once there was a fructiferous society-- in a sense a "society" can come into being through an act of language. (J.L.?) Austin posited two distinct types of language use-- the locutive (?) & the performative. The locutive is aimed at description: "This house is blue." The performative is aimed at making something-- usually something social-- happen: "I now pronounce you man and wife." Although he separates these, in fact, both the locutive (?) & the performative are alway at work in all speech acts (in my opinion) unless perhaps no on (including the utterer) actually listens to and makes meaning out of what is said. So now I feel part of a fructiferous society.
The commentative narrative & epository langauge of the "titles" (foreground screen text) creates an interesting & distancing (can the two language structures be brought together?) complement to the Adamic games, images & texts which it speaks of & which literally & metaphoriacally lie beneath (behind?) it & raises questions in two directions: how we "know" each of the language games through the other. Ennactment as evidence & example, commentary as semiotic "anchorage." These are all just first thoughts & impressions-- I have to look at the cd several more tmes before I cn say anything reasonably specific.
But again the "density" of the piece promises to be greatly rewarding.
Yourz, Bee (ore knot bee)
From: bstater
Subject: Fructiferous Society 2
Date: August 16, 2005 12:37:13 AM EDT
by noting how unclose to surrealist automaticity the enclave of words still swarms with libidinal force of rupture say of symbol or the fact of the skin which encloses a human being or the ripe & tender flesh of summer fruit UR, it frolicks (method rejoins & relaxs to free play) Sea of Sumer, the dent in UR (I am travelling backwards perhaps in metaphor-- which steps in. & ripped from pen (before spoken, latter typed-- he finds that the method metastasizes into thought, perhaps a kind of method or...) theory (& we are back) in begging (or beginning) a human (a violation) cleanses chi kinship (by being descriptive: adding a boat) heat of yes (or yes & no to remind one of the indecidibility of thought) torpor of cephalous (called methaphor, METHAPHOR is no typo, the seimios cracking the cosmetic egg) dim library tithe (does it matter what he straited with?) warms little swords (I find I have no desire to continue until the end.) fenway clove he tactically mores the UR list (But still I continue.) closed to won byte no nothing. (I find a new desire to continue-- in syllogism)
playing freely relaxs & rejoins method: the frog licks it up backwards travelling am I: your intENT resumes as of(f) in steps which...raft me in MISAPPREHENSION method is kind, perhaps a thought to metastasize into FREER (more or less) meaning f(o)ul play.
perhaps libido is the wrong word & should be punished by the stern hand of a father with grey beard, tongue in cheek, geneology in hand claiming kinship with Adam & by etymology with the Adamitic as father. father-figure, or mere figure of speech Adamitic for "original" as in NU-SPEECH a U turn in Speech NUDE SPEECH away from ordered structure or index like a finger pointing to the same tired cloud-- it: loud red c-- see, it read loud in my ears & eyes & Nude an awareness of nakedness, knowing it' SSSSSSSSSSSSSSSSSSSSSSSSS in The forked one's speech, who speaks with forked tongue the serpent which enstills desire within the h)eAR(T of language at once phallic & uteran
I am trapped in my percptuo-metaphysical cell & you are trapped in yours language cannot aid us to trade places; only language cant help us trade places pandora's box is filled with words demons de mons de nom s the sound of the serpent the demonstration of the possibilities of the word & gaps between words: duh, uh, ssssssssssssssssssssssssssssssss glossalalia gloss & labia the tongue language & the lips what to write of them? what to write on them?
to the tENTATIVELY, a cONVENIENCE movie-making "Press: Criticism, Interviews, Reviews" home-page
to the "tENTATIVELY, a cONVENIENCE - Sprocket Scientist" home-page
to the "FLICKER" home-page for the alternative cinematic experience
to find out more about why the S.P.C.S.M.E.F. (Society for the Prevention of Cruelty to Sea Monkeys by Experimental Filmmakers) is so important
for info on tENTATIVELY, a cONVENIENCE's tape/CD publishing label: WIdémoUTH
to see an underdeveloped site re the N.A.A.M.C.P. (National Association for the Advancement of Multi-Colored Peoples)