How do things exist in space?
My experience in math and engineering causes a natural reaction to refer to the three dimensional Cartesian Coordinates that I have been using for years in class. This system consists of three axes with incremental markings of distance along each side.
definition of axis: ax·is
1. A straight line about which a body or geometric object rotates or may be conceived to rotate.
2. Mathematics
a. An unlimited line, half-line, or line segment serving to orient a space or a geometric object, especially a line about which the object is symmetric.
b. A reference line from which distances or angles are measured in a coordinate system.
These axes are labeled (x,y,z) in the Cartisean system. The figure below shows this system.
Any position in space can be explicitly described by providing the three values of x, y, and z. For something to exist in space it must have these three values that define where it is. If the object occupies a volume, this volume can be defined as an accumulation of all the points within its volume.
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Response to Second Series from 3 x 11 Tristychs:
This piece is hard for me to wrap my head around. After reading the commentary after the piece I understand that this Second Series is a series of separate poems each numbered and collected as a unit. Does each numbered piece stand alone, or does Yannis Ritsos have an overall theme? How does the space between these separate poems affect how one reads this series?
From Thylias' comments on her Blog, I can assume that the original work was very different than this re-printing in the Anthology. I would imagine that the arrangement of the short poems would have been more dramatic. Did this arrangement help define a uniting theme with the poems?
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Drawing Blue Song Candidates From Super Vision
I currently do not own Super Vision. I need to re-examine the book in class one day to identify a couple candidates.
I searched for some images that are similar to those found in Super Vision, and have found some that could be applied to the blue song:
Cell nuclei of the mouse colon (740x) by Dr. Paul Appleton. Taken from Nikon's Small World competition for the best microscopic image:
"Nikon's Small World winning image emerges from blackness to reveal the delicate, blue pebbly texture of the cell nuclei of a mouse colon as seen through the microscope. This winning image is the work of Dr. Paul Appleton, a researcher from the Division of Cell and Developmental Biology at the University of Dundee in the UK." (Quote Taken from www.medgadget.com/
Here's the link to the page for this competitions. It's actually really amazing stuff!
http://www.nikonsmallworld.com/
1 comment:
Indeed; content can be recessed within margins or extended above them. The 2D representation is an obstruction to the placement and configuration of possible volume placement and distribution if the occupancy shifted to or was shared with more dimensioned locations. In a system, the poam could pass through 2D, 3D, 4D areas, any potion of which might not be accessible from certain encounter locations.
Much primacy is assigned to the 2D configuration in which the poem is encountered although such 2D representation is not the only possible configuration or necessarily the best. Even if agency, artist intention, and so forth provided the 2D mapping, a corresponding imagined landscape may in face be more dimensioned or complex --what is being experienced as the poam is being translated from idea to words for 2D residency? Is the experience of creation necessarily or consistently flat? --or does the experience of 2D default mapping of language reshape thinking so that more dimensioned idea becomes flattened by consistent placing in 2D environments. What adaptation would occur if the mapping occupied more complex environments?
Perhaps if located in 3D space, it could become more apparent how a particular configuration is linked to physicality of a moment of set of moments, and subject to physical changes over time.
That the poam is/could be baehaving might also be less obstructed by 2D framing system requirements.
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What if the numbered pieces occupied 3D space? Could such occupancy clarify or suggest other possibilities for relationships between the parts? Would they form constellations, for instance? The apparent proximity of parts due to 2D flattening could be only distortion of the forfeiture of dimensionality. And how is it determined just what the nature of the space (or gap) could be? How much time? How much physical space? again: the flatness could be obstructing relationships that increased dimensionality could make more apparent.
Writers do not have to be engaging 2D versus 3D modes of spatial representation, but there could a difference in the mental/imagined landscapes and the 2D translation/reduction. There could be spires and distances in the idea versions that lose volume in 2D compression. And even if made for the 2D page, something unexpected might occur when occupancy includes physical volumes. Other locations for placement emerge, more complex relationships.
I am aware of Nikon's Small world competition; thanks for the link.
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