Archive for September, 2006

Cult of the Microbe King

Posted by Tim - 27/09/06 at 09:09 am

Who would have thought this humble pest would someday take a seat beside the likes of David Copperfield or Martin Chuzzlewit, as The King of the Microbes.

One of the most startling events for fans of Charles Dickens this past year has been the recent discovery of an unpublished manuscript, The King of the Microbes. It’s authorship is still controversial, due to it’s peculiar subject matter, but some scholars say it’s nothing new, and argue that Dickens made numerous references to it in his diaries and letters although, until now, everyone assumed it never became more than just an idea.

Published for the first time after being written over a hundred years ago, Charles Dickens’ strangest work has become an instant cult classic.

A noted scholar on Dickens’ work has responded with total disbelief, “Charles Dickens never wrote anything remotely like this sort of science fiction novel. They didn’t even know about microbes when he was alive. It’s ridiculous, not even one of his contemporaries could have written it.”

Tracing the life of Jim, a microbe, the novel describes his impoverished beginnings and subsequent separation from his family at the tender age of 8, when he’s sent to a large industrial center to earn money to help support his family back home.

Exploited by the factory owners and earning nothing but a meager ration of gruel each day for his work, Jim uses his organizational talents and sincere charm to lead a labour revolt that eventually grows into something of a revolution ending with him being crowned as their king.

Standard Oliver Twistian fare, excusing the revolutionary theme, but this all takes place on the microscopic level and there’s none of the happy, plump and playfully named humans which the readers of other works by Charles Dickens would expect. In fact, there aren’t any people at all, and his best friend is named “Zorax.”

Download parameter file “crown09b.ink”

The prestigious Royal Institute for Victorian Literature said, “It’s obviously Dickens’ work. While he never actually quotes from it, he mentions a work, Microbe Town profusely in his diaries and letters, a few of which are to his publisher, who for some reason seems uninterested in it. Perhaps it wasn’t finished, although most of Dickens’ works were originally published as a continuous series of magazine installments. I rather suspect Dickens was uncomfortable with it and died before he could make up his mind to have it published.”

Still only available in hard cover, and elaborately illustrated, The King of the Microbes has completely sold out it’s first, and rather short, printing run. Copyright issues have blocked publication in the United States as the estate of Charles Dickens has said that since the manuscript was never published, it’s not in the public domain yet, unlike the rest of Dickens’ work, and therefore they still hold the copyright.

Borderbooks, a U.S. publishing house in New York, says it intends to publish the work since they say they have an exclusive contract with someone they claim to be the real, and currently “living” author. The real “Charles Dickens” who wrote the book they say is an american who uses “Charles Dickens” as a pen name and was something of a drifter who previously worked as a microbiologist and has been an avid fan of the original victorian writer all his life.

This american microbiologist apparently was intrigued by the references the original Dickens made to the unknown work, Microbe Town, and set out to write the novel that he thought the real Dickens would have made.

The mysterious writer has so far been unavailable for comment and, according to his publisher, was last seen “dressed up like the Ghost of Christmas Past on a motorcycle he bought with his advance money, seriously drunk, and intending to head out to California, with a surf board tied to the back rest of his motorcycle and promising to write a sequel along the way that he’d drop in the mail when he got there…”

Alright. That’s too much. I should have stopped before I got to the motorcycle, or the drifter.

Anyhow, I thought these processed Inkblot Kaos images would fit in just perfectly with such a novel, The King of the Microbes. Should it ever be written. Or discovered. Or whatever.
 

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Tiffany Lamp Gone Bad

Posted by cruelanimal - 23/09/06 at 08:09 pm

Tiffany Lamp Gone Bad

Tiffany Lamp Gone Bad (2001)

May West liked good salmon.
Her bedroom had dark panelling

and lava lamps. Over her tables hung
racks of critics behind the bar

where bad service is largely blamed
on Texas. Her rental limo

was toothless and made me think of
camp. Such dim jerky tastes

survivalist or maybe all the songs
about trendy green plots gas up

through hanging smoke. Her hip
inquisitor makes a great square

room addition. I hear her voice
calling me claw-footed.

Her old man gives off a soft glow
low and sexless. Victorian.

Well cut by Jack like shards
of sour cream on a white plate.

~/~

This is a “Google” poem — a found text pieced together by search hit syntax snatches from a Google search of the phrase tiffany lamp gone bad.

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He played the Balalaika

Posted by Tim - 18/09/06 at 11:09 am

He played the Balalaika… then ate it!

I wasn’t quite sure what to do, so I clapped.

He wasn’t finished yet.

Everyone in the alien dinner theater scowled at me while he started again, from the beginning.

I couldn’t see why this guy was such a big celebrity on this planet.

Until he started to sing. It was the most amazing performance I’d ever heard.

But the local aliens at my table weren’t too impressed. “Anyone with two heads can sing harmony like that,” they muttered.
 

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Who’s That Tramping Over Our Blog?

Posted by cruelanimal - 16/09/06 at 04:09 pm

Periodically, blog housekeeping issues arise that need to be clarified.

Orbit Trap is not an online community. We’re a blog. In a very real sense, we are like a publishing house. We reserve the right to choose what we will and will not publish. We do not exclude public opinion. Comments are welcome, and we do not shy away from controversy, but we do expect all remarks to be civil and respectful. We will not tolerate trolls or hand our blog over to them for use as their private platform. Trolls, of course, have the freedom to set up their own blogs and rail away at us 24-7 if they wish.

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Unattainable

Posted by cruelanimal - 12/09/06 at 10:09 pm

Unattainable

Unattainable (1999)

An impossible self help question
will wait
check out
be home

unless you are a fan

of stupid networks. One of the tightest
going nuclear photographs cuts

waste and overlooks ad agency
ethics. To understand more

toast the Broadway stage with
handgun exits, silent designs

before clicking to play
shut the books
cool detachment
self protection

when the Coca Cola intelligentsia

stumble in household income
and brain drain your

favorite photos. Who is
that artist in the break room mirror

found in prison? I have a prop
like yours: a picture with problems.

~/~

This is a “Google poem” — a found poem pieced together from syntax snatches uncovered in Google search results of the word unattainable.

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Electro Sine Trap Tentacles of Terror

Posted by Tim - 11/09/06 at 10:09 am

It’s been ages now since ants took over the Earth, but they still enjoy reliving the old battles.

“One small step for an ant, one giant leap for all insects.” Conquering the humans was the defining moment in the civilization of the ants.

When they read what we wrote about them in textbooks, they weren’t insulted. “Look how the mighty have fallen!” they roared with joy.

Every year on Veteran’s Day (for ants) they re-enact the great battles and tell their children and grandchildren about the Revolution.

“Son, the history books will tell you that the 214th Leaf Cutter Division captured Washington. But by the time they got there it was just me and few other guys. Beat but not beaten.”

“Just me, a few guys and our Electro Sine Trap Tentacles of Terror!

“Boy, tell your children and your grandchildren, if the humans ever come back from their holes in the ground, just let ‘em have it with the Electro Sine Trap Tentacles of Terror. Those babies will fry ‘em where they stand!”
 

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I walked with Warhol

Posted by Tim - 04/09/06 at 09:09 pm

Hey, how about it? Is this the Campbell Soup Cans of fractals or what?

Anyhow, Andy told me, and no one else knows this, that he’s taken all his talent and everything he’s ever learned about art and put it into a single photoshop filter.

And he gave it to me, on a diskette.

I’d post it for download, but I promised I wouldn’t, or else I’d lose all my super-powers.

A long time ago when I was in university I wanted to learn Spanish because I was going to go to Mexico for two months in the summer. Being exceptionally lazy when it comes to learning languages, or anything else mathematical, I checked out, started to study, and gave up on, a number of Spanish grammars.

I was in the public library looking for a different kind of Spanish textbook when I found a hardcover one with no dust jacket from the 1950′s illustrated with small line art drawings. Each little ink sketch was signed, “A. Warhola.”

I laughed. It had to be Andy Warhol. In fact, I figured he was a little embarassed with putting his real name on these trivial illustrations so he contemptously wrote his last name “Warhola.”

Years later, when I began to read about things, I was surprised to find out that Warhola was actually his real name from the beginning, and he dropped the “a” off the end later on so it wouldn’t sound so…

I never finished reading the book about Andy Warhol. I don’t know what the reason was. A lot of people have altered their names to make them sound more or less of something. I’ll bet there’s even been someone with the last name Warhol who’s added an “a” and changed it to Warhola.

Here’s the original before “warholization” occurred, made in Inkblot Kaos.

Download parameter file “fan23.ink”

Which is better? The Warhol or the Warhola?

Actually, the effect is just the uscomic.8bf thing with the darkness slider moved to the lighter end of the range, the image inverted and the hue moved about half way around the spectrum. But maybe that’s all Andy Warhol ever did when he made his famous stuff.

Of course he would have had to do it the hard, old-fashioned way.
 

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Mandelbrot Among the Gypsies

Posted by cruelanimal - 03/09/06 at 05:09 pm

Mandelbrot Among the Gypsies

Mandelbrot Among the Gypsies (2001)

Gaston Julia, recovering from injuries caused by a hospital, was named king of the gypsies in 1917. He had darned some socks for corpses and driven a hawthorn stake through his soon-to-be famous set. Much of his initial groundwork was spent decapitating computers on a finite area of the X-Y plane. Female vampires might have been more helpful in seducing his theory, but Pierre Fatou was a familiar who was missing a finger. He used melons to free up computer time. Of course, they dripped blood. To ward off vampires, gypsies used computer-generated cremation grounds. In 1979, Benoit Mandelbrot himself could reproduce after he made noises and calculated Kali. The goddess drank his image — all his blood was drained but none was spilled, thereby the “Mandelbrot Set.” The values of IBM went from C to mullo (one nomadic perimeter of a large, complex ghoul). The discrete boundary of this formula is very loyal to dead relatives, both inside and out. In 1982, Mandelbrot’s soul re-entered the world, and he published a book similar to ours only very different. It was called In the Fractal There Is No Death. His soul, kept crated in wooden boxes, stayed more around his publisher than his body. This was actually seminal, for undead followers soon generated and sprang out of the ground. They believed only in dendrites and Slavic primacy. Later, after deep zooming and (re)animating irregular shapes, interesting patterns like animal appendages emerged and wandered the countryside. These beautiful images were a surprise, and intestines and a skull combined to make an apparition that drank only coloring gradients. So, yes, Bram Stoker spread his work at high magnification. By 1000 AD, computer artists with their powerful PCs had settled in Turkey. All culture and contemporary simulation seemed to stop shortly afterward.

~/~

Using the “cut-up” composition method popularized by William S. Burroughs, two blocks of text were run through a virtual cut-up machine. The result: a randomly scrambled “found” text mirroring chaos theory and yielding new meanings.

The two texts used here and merged were:
1) an article about the beginnings of fractal art–
2) an article on gypsy vampire superstitions–

~/~

I sometimes try to write poetry using similar steps to the way I make fractal images.

My process for creating a fractal-like poetry begins with the “cut-up” theory of writing popularized by the late Beat writer William S. Burroughs. It’s probably written by elves Wikipedia describes cut-up composition as follows:

Cut-up is performed by taking a finished and fully linear text (printed on paper) and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text. The rearranging work often result in surprisingly innovative new phrases. A common way is to cut a sheet in four rectangular sections, rearranging them, and then typing down the mingled prose while compensating for the haphazard word breaks by improvising and innovating along the way.

I then try to add two new dimensions to cut-up composition: 1) collage software and 2) bits of fractal theory.

My compositions begin by pasting two existing text excerpts into a virtual cut-up machine. This is software designed to scramble and splice texts to make new, “found” texts. But I use the software in a very specific way — and for a very specific end: to create a kind of “fractal poetry.” There are, indeed, some connections. Chopping and rearranging (layering?) the same two “set” texts means subsequent cut-up(s) will always be “self-similar.” The field of available words never changes and syntax replicates but is altered with each iteration. In theory, the cut-up text could be infinite — if I could live forever and constantly keep mashing up the same two select texts. Fractals are also infinite in theory, but a graphic viewer capable of a never-ending deep zoom has (to my knowledge) not yet been created. Moreover, by placing all of the cut-up machine’s settings on “random,” chaos theory comes into play. So, the resulting cut-up texts do have some fractal characteristics — computer generation, self-similarity, theoretical infinity, and influence of chaos theory.

I am not the only writer to link fractals and poetry. Poet Alice Fulton has discussed “fractal poetics” in her book Feeling as a Foreign Language (Graywolf Press, 1999). She writes:

Science’s insights concerning turbulence might help us to describe traits common to the poetry of volatile (rather than fixed) form…Just as fractal science analyzed the ground between chaos and Euclidean order, fractal poetics could explore the field between gibberish and traditional forms. It could describe and make visible a third space: the non-binary in-between.

Naturally, Fulton has her detractors. Michael Theune disses her ideas in an issue of Pleaides:

At first, Fulton’s theory sounds promising. A real departure from organic theories of poetry, it could help to privilege a new kind of poetry, a hyper-repetitive or incremental poetry perhaps analogous to the fugue — a structure Fulton mentions in her essay, “To Organize a Waterfall” — that might approximate the not-quite and both chaotic and self-similar — “[a] self-similar mechanism is, formally speaking, a kind of cascade, with each stage creating details smaller than those of the preceding stages” — aspects of the fractal. The fractal, one could say, replaces the paradigm of the musical score with the paradigm of the loop.

[...]

The trouble with Fulton’s theory is that none of this happens. Instead, Fulton makes a mess of things, bleeding her potentially interesting theory dry by turning it into at best a lightweight surrealism or at worst a trite descriptive tool.

Fulton applies fractal theory to existing free verse patterns in hopes of discovering a middle ground of exciting expression poised between sense and nonsense and for extracting (deep zooming?) new meanings. Fulton is less interested in generating poetry based on fractal components than she is concerned with applying fractal theory as a critical tool to decode and validate what she sees as super-charged free verse poetry. In contrast, I am more attracted to using pieces of fractal theory as a mirror and a map to generate new “found texts” that are somewhat fractal in both compositional method and structural design. Ideally, such new texts can truly inhabit Fulton’s “third space.”

And that’s where I want to be. In that third space suspended between chaos and order.

Fulton goes on to say is poem is not a fractal because poems aren’t “complex adaptive systems.” True enough — but if a poem can be spliced and diced to embed at least some fractal characteristics, and each subsequent stage of that cut-up is a new iteration, doesn’t that evolving new text demonstrate traces of complex adaptation? Or is the inclusion of deliberate randomness in my cut-up process an adaptation buzz killer?

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