This topic has emerged in some of our recent threads, so I invite you to . . . well, I’ll just let David Thompson explain:
A brief tribute to the Online Journal of Embodiment & Technology, which features such herculean artistic works as Thrash: Physical Responses to the Bush Administration, by Andrew Simonet and Headlong Dance Theatre, and the scholarly musings of “radical cyber-feminist†Professor Caroline Guertin:
“We inhabit our bodies differently when we are out of phase, oscillating in the turbulence of dynamic space, that space where the textual body is written as contextual knot. The ways of moving in virtual space are directed and mapped by the knots that span spatio-temporal rifts. Without movement, we cannot cross the space-time divide.â€Â
And:
“The textual voyage is alive and kinetic, fractal and in flux, birthed as she travels through its fullness.”
I do take issue with the adjective “herculean,” considering he cleaned out the Augean Stables. “Vaginormously craptacular” ought about to cover it.
Speaking of quagmires . . .
“Fistulous” is the word you’re looking for, I think. It’s got that knotty wormhole vibe.
Be sure to watch “Thrash”, the video D. Thompson links at the end of the post. Then read the Youtube comments….Classic stuff!
I think it’s cool that artists are now forced to take courses in language arts. Sadly, they don’t really USE those big words to convey anything that makes sense, but still it prolly makes them better people, right?
She is getting her vocabulary on, for sure. I’m still trying to figure out what she’s saying, though. I’m guessing it’s really more about the sound of the words than their meaning, or maybe the reader is supposed to breeze through and flit from one mental picture to another, with the pictures being generated by the words.
Or it could all just be crap.
Sounds like she took lessons from Prof. Irwin Corey.
I think that first one’s just a long-winded way of saying you need Midol.
I could not find a translation for that in babelfish.
since nishit is a ballerina scientist mathematician Sufi maybe she could explain.
Cranky,
Your “or”s suggest bounded conditionals that do not apply in the text. The categories are equal — “homo-textual,” as it were.
Wait… that was an attempt at prose? I thought it was Dadaist poetry.
Excuse me, sir, but I speak Jive.
I browse the web. I click on the sites and think about what is written there. My own experiences color what I read, what I read becomes my experience. Thinking is really freaky, man. My uterus hurts.
Dan, is this Misogyny Wednesday? Because I resent that midol crack. Not because it is true or anything. Chocolate.
Get this woman chocolate! Stat!
Actually, based on cursory familiarity with postmodern textual analysis, “fractal” is apt rather than abused.
After all, pomolitcrit can dig infinitely deep, always finding “new” (or at least what-it-presents-as-new) “insight” into the text it notionally refers to. And that’s much like the nature of a fractal graph; more detail all the way down.
That said, “birthed as she travels through its fullness” is fucking meaningless.
Good comment at the “Thrash” clip: “I don’t get this. Apparently, listening to George Bush makes people act like background extras in One Flew Over The Cuckoo’s Nest.”
Apparently one is compelled these days to balance the hyperbanality of one’s oeuvre with similarly turgid prose in describing it.
Whatcha wanna bet that my Markov chain program can do Guertin?
The science of peers is pan-spatio-temporal. Browsings embody the tenets of life, the void.
Motion with the Cartesian coordinates are embodied browsings in her passage. The jump cuts in space of alternative plots to question our way of space strive for a result, motion is a predecessor in her original monsterâ€â€and resorting to adjust.
Always looking for the unrecorded stories of emulating her story and time. Histories are both in the moments along the written by a union of time, and in the reader in doing so.
Let her body parts/texts simultaneously. A browser’s yearning after being an embodied feminist flâneuse is unified (but not use Janet Murray’s terminology). We can pass through. She is a textual cosmos of our interface. Explore cyberspace peripatetically. We are lesbian writer and space, look and the browser (not to touch, and time).
If all things are constantly in knitting the magnitude of the wanderlust has long been denied to critique the narrator’s eyes, in both in the potentialities of how and mapped by the full and our body parts exercise their minds, different pages. The textual spaces. To be fixed points in the meeting of past and for a prototype of alternative plots to structure.
Patchwork Girl, no need to enact her to one that keeps returning to travel through. Motion crosses the foot’s former casket. Finally reunited with the swarm seems to reconcile this dislocation between the text to speak in space-time of the gesture of dislocation.
It is a wooden leg, and sometimes traumatic moments along dotted line. The science of connection is immediate. The trajective network of writing, plus the lines she storms out into the penny press. Lost appendage back onto our experiences in the rooms of thought: we might think of light speed.
Her lips laugh of a means of unrecorded stories of storytelling and uses this sensory space. The result of transformation of the space-time of the acceleration of forgotten stories cannot be other places, to both locations. Revisiting a browser’s quest in revisiting a woman impersonating a glimpse of her donors cluster together across the electronic text. There a space is instead a constant. This excitation, as a disconnection is inclusive and our interface with the map is always already changed by its movements, re-embodiment-meta-embodiment. We can use of mnemonic engagement with plastic surgery and perceptual space. This conglomerate of forgotten, faceless, unknown souls who are the way out in space is the notion of Jackson’s fissured creature that refuse to explore cyberspace peripatetically. We choose to deviate from the mode of the expression of her own turn the gaps between storytelling and discourse as the form: the spatio-temporal divide.
Static space where she hunts down divergent threads to be linked, never linear trajectory. It is always already a product, because with the disconnecting gestures required to shift Jackson’s novel works on the paintings of the trajective browser is a method of peers written in fiction and, when Chancy happens upon inversions of subjectivity and discourse.
That was freakin’ hysterical.
Get #15 a grant form! You’ll be knee-deep in cheesecake and quaint coffee shops soon! Hold on!
[…] Feminist Science by Spies, Brigands and Pirates’ Markov chain program: […]
HA – I was looking for that generator thing earlier. Hil-ar-i-ou.
“Comment by cranky-d on 5/14 @ 10:48 am #
She is getting her vocabulary on, for sure. I’m still trying to figure out what she’s saying, though. I’m guessing it’s really more about the sound of the words than their meaning, or maybe the reader is supposed to breeze through and flit from one mental picture to another, with the pictures being generated by the words.
Or it could all just be crap.”
It IS all crap, cooked up and served by a severely self-esteem challenged egomaniacal idiot. It must suck to be so insecure that you need to go to such lengths to justify your existence,
I know someone like this, and he is a now a little known hollywood film critic.
But in actuality, in high school, he was more like our mentally challenged mascot, allowed to hang around soley for unexpected laughs.
I should actually feel sorry for people like this, but they always wind up making me giggle with their unbounded stupidity.