Arthur C. Clarke famously sed:" Any sufficiently advanced technologyis indistinguishable from magic. ". . . . . . . . . . . . . . . . . . . . . . magging the lags, jinxAbaddon grasshopp'rof seventh rev, r.p.m. redlinerw/ lactation inbelly intestinal& shit stack'd backwardsupon infernal daemonumin aisles of dread, specializzekloth bullet-stopp'r &locate stolen ponies, ridingmotherletters aleph tomemmashins such neither-neither ;beverages by Nixie Paecomplete w/ singing frogsor as Orisha ismaster of the head, bone home hymnhu bodybloomaflight over Ra Heliopolisas Bennu burns birthskyclad thru solve et coagula& opus circulatoriumalso ain soph aurwhich all comes where,vast unmanifest'd& each undergoing Gilgulimtil Mohin Degadlus ecstasyworking paths pathworkingsother than indicatorssignatural via mysticaopen void shunyata,even fibres less sewn :the forest, lookwoodxylomancy found &Jumala in treescup fulla atavistic resurgencecoinflipp'r paroketh solarin veil & all is tobe done &all is to be done.(rabbit).(Hermes will always be a fringe figure; he will never depose Zeus -- or if he does, he will cease to be Hermes), "when human culture turns against human beings themselves the trickster appears as a kind of savior" -- "When we have forgotten that we participate in the shaping of this world and become enslaved to shapings left us by the dead, then a cunning artus-worker may appear, sometimes erasing the old boundaries so fully that only no-way remains and creation must start as if from scratch, and sometimes just loosening up the old divisions, greasing the joints so they may shift in respect to one another, or opening them so commerce will spring up where 'the rules' forbid it. In short, when the shape of culture itself becomes a trap, the spirit of the trickster will lead us into deep shape-shifting . to wake the possibility of playing with the joints of creation, the possibility of art."____________________
seems like everyone thinks they are the trickster,or the perfect spirit of their idea of the trickster.oooor,worse..so oblivious as to not even be relevant or effected by anything,especially the spirit of the trickster. everything is true..except for me of course. im a giant falsehood.
“Betwixt and Between”The first is of society as a structured, differentiated, and often hierarchical system of politico-legal-economic positions with many types of evaluation, separating men in terms of “more” or “less.” The second, which emerges recognizably in the liminal period, is of society as an unstructured or rudimentarily structured and relatively undifferentiated comitatus, community, or even communion of equal individuals who submit together to the general authority of the ritual elders. This second model of human interrelatedness, communitas, has a number of cultural manifestations, of which liminality is only one. The two other manifestations that Turner mentions are marginality and inferiority. To express the relationship of these manifestations to social structure in spatial terms, they are in between (liminality), on the edges (marginality), and beneath (inferiority). As an example of communitas in modern Western society, see the “beat generation,” the “hippies,” and the “punk rockers” -- these have opted out of the social structure and chosen to manifest communitas through inferiority. For example, the hippy attitude toward sex is that it is an instrument of communitas rather than a means of forming structural bonds (that is, through marriage) Liminality is one of the three cultural manifestations of communitas —-it is one of the most visible expressions of anti-structure in society. Yet even as it is the antithesis of structure, dissolving structure and being perceived as dangerous by those in charge of maintaining structure, it is also the source of structure. Just as chaos is the source of order, liminality represents the unlimited possibilities from which social structure emerges. While in the liminal state, human beings are stripped of anything that might differentiate them from their fellow human beings —- they are in between the social structure, temporarily fallen through the cracks, so to speak, and it is in these cracks, in the interstices of social structure, that they are most aware of themselves. Yet liminality is a midpoint between a starting point and an ending point, and as such it is a temporary state that ends when the initiate is reincorporated into the social structure.For liminal mythic characters, like the trickster, liminality is their original state. Since liminality is betwixt and between the social structure, their existence in liminality allows them access to the social structure at any number of points, much like a sewer dweller would have access to a city at any number of points. The trickster may flit across the borders at any time, penetrating the social structure at will, but he cannot stay there. He must return to that state of betwixt and between in order to manifest his powers. One good example is the Winnebago Trickster Cycle. The cycle begins with the story of a chief preparing to go on the warpath, yet Radin informs us in a note that Winnebago tribal chiefs are not allowed to go on the warpath. The chief prepares a feast and breaks taboo after taboo. When he finally leaves on the warpath, he destroys his boat, his warbundle (a leather bundle containing sacred items intended to give a warrior power in battle), and his quiver—all vital items to any warrior. With the destruction of each object, more of his warriors abandon him, until he is finally left alone. It is only then that the narrator refers to him as Trickster.Trickster’s original status as the chief of the tribe shows that he is able to not only penetrate the social structure but to dominate it as well. Yet he cannot stay in this exalted position, and only by breaking every taboo imaginable and becoming an outcast can he return to his element—that is, liminality. As a liminal character, it is not possible for him to remain static within the social structure.Liminality (from the Latin word līmen, meaning "a threshold") is the quality of the second stage of a ritual in the theories of Arnold van Gennep, Victor Turner, and others. In these theories, a ritual, especially a rite of passage, involves some change to the participants, especially their social status.The liminal state is characterized by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation. Liminality is a period of transition where normal limits to thought, self-understanding, and behavior are relaxed - a situation which can lead to new perspectives.People, places, or things may not complete a transition, or a transition between two states may not be fully possible. Those who remain in a state between two other states may become permanently liminal."to create junctures where radical agency becomes possible"Liminality is not concerned with the old strategies of the edge, the avant garde and the marginal. Instead it is a notion offering a new way to experiment and create using the in between spaces, the interstices. Liminality is fluid, open, unfixed,inclusive, diverse.Audre Lord who in her essay " The Master’s Tools will Never Dismantle the Master’s House " sez that: " For those of us who stand outside the circle of the society’s definition of acceptable women: those of us who have been forged in the crucibles of difference[s]….know that survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish.It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. "They direct us instead to the self and its relations to others as raw materials in need of shaping and polishing. They direct us to both as the materials of a classicizing refinement of the self into a teleological imago, a presumptively universal and eternal Idea or ideal. They direct us to both as the materials in another context of the heroization of the present, of the capturing of the eternal in its always fleeting moment. They direct us, yet further, away from the sterile fantasy of utopian inversion and the inconsequential negations of utopian resistance toward the terrains of the heterotopic, in which a purely negative and reactive imagination might recede in the face of a daemonizing imagination antithetical to and yet constructive within and constructive of its quotidian environment. It is just such terrains that might more particularly be home to an imagination of the self and its relation to others antithetical to and yet constructive of and within that very environment. The existentialist--Turnerian, but also Sartrean or Heideggerian--ultimately rests, epistemologically and ontologically, with the binary opposition of the utopian to the quotidian, the true to the false consciousness, the authentic to the inauthentic, no matter how sophisticated his social and cultural and historical nuances may be. This is why the existentialist is always in fact a contributor to the very mythology of the self that it pretends to supersede. It promotes an abstraction of the self from its concrete determinations and over-determinations that Foucault could already recognize to be sterile in 1967, in Sidi Bou Saïd. His acidic denunciation of Sartre there is his most vibrant--and impolite--expression of such a recognition (Macey 1993: 193). His conception of the heterotopia is not merely a product of the same entangled remove from the Parisian metropole. It is also the dark divination of a conceptual cartography of the cardinal categorical site of a concrete anthropology and sociology of the embedded possibilities of an always already socially and culturally conditioned imagination--this daemon--that threaten the quotidian as much as they bore the utopian. It is precisely in that real space between threat and boredom that the analytical vigor of Foucault's conception of the heterotopic--which finally went to press in 1984--continues to lie. Immigration is a phenomenon that contemporary societies struggle with. In this context the figure of the foreigner is a good scenario to explore the dynamics and tensions of cultures in contact. The liminal perspective provided by the outsider adds a new interpretation of our own reality, questioning the foundations of the canonical culture and our own identities. “What appear to be cultural units -- human beings, words, meanings, ideas, philosophical systems, social organizations -- are maintained in their apparent unity only through an active process of exclusion, opposition, and hierarchization. Other phenomena or units must be represented as foreign or ‘other’ through representing a hierarchical dualism in which the unit is ‘privileged’ or favored, and the other is devalued in some way.” (Cahoone 1996)The Text of space, the Space of Text Maeda used the term _psyco-walking_(mind walking) to explain the dynamic relationship amongst the author, the narrator and the reader in a given text, by featuring on the spaces in it. And this relationship is alsoconstituted by the correspondence b tween the real space and theimaginative space. The effort to find out this relationship is called the psycogeography and its practical form is the drift (derive in French). On the other hand, the inner space of text is organised by the zero point of reading, whose core is actually each of the walking bodies. If one experiencesthe real moving over spaces according to any texts, then something corresponding to lived space will be able to take place. But the its mapping and function on the inner space of reading is a sort of black box and so invisible for ordinary consciousness. He analyzed and insisted that the function of imagination during reading of texts and distiunguished the space intended by imagination(Vorstellungmeinen) from the space as representation (Vorstellungsraum), which is alwaysoccuring as intuitive images during the reading or after thereading. It works just as the imagination can represent the absent person in any given situation. But this kind of imaginative space is not the innerspace itself of text. And also the space inteded by imagination is just produced and opened by process in which the readers wish to intend to unreal and unrepresented objects beyond text itself.Derrida says we have to question the form of questioning.Heidegger says interpretation is not the acquiring of information about what is understood; it is rather the working-out of possibilities projected in understanding.Virilio says today there remains nothing but the cathode ray screen, with its shadows and spectres of a community in the process of disappearing.Gadamer says words are always answers,even when they are questions.Jean-Luc Nancy says there is no meaning if meaning is not shared, and not because there would be an ultimate or first signification that all beings have in common, but because meaning is itself the sharing of Being.Lacan says you never look at me from the place from which I see you.Hegel says the achievement of modernity was to allow the principle of subjectivity to attain fulfillment in the self-sufficient extreme of personal particularity.Žižek says we seek other conditions because we do not understand the use of our own.deMan says the resistance to theory is a resistance to the use of language to discuss language.- - - - - - - - - - - - - - - - - -
relative to a relationship with society,in whatever form....(really this inbetween existence is just a fun concept to throw around,if you ask me..can be used as a rationale for really anything,for those inclined to do so...especially to imply potential,or rationalize potential as actually kinetic.technically,sure,its exists..but so what?)pre internet-a letter writer,and perhaps a recluse, could write to multiple discrete individuals at one time,knowing full well it was reaching just them.what about this same type of representation taking place via the internet? writing(and visuals,,(and vispo) can represent whoever it wants of itself,using time to think and present-knowing it can react to whatever interaction takes place with the same pace,(one can still walk one self into corners tho...or can they?). it is still "just" the internet. it is/can be a social structure (of sorts)..hmmmm,is it inbetween by its very nature...?i dont think it is,but of course there are ways to be that way about it.everyone is a trickster now.
"The difference between the university graduate and the autodidact lies not so much in the extent of knowledge as in the extent of vitality and self-confidence." (The Unbearable Lightness of Being)Milan KunderaYou hit the society of the characters. You undergo what they springy and what they do. You center the text they intercommunicate and you undergo what they think, as well. A paragraph crapper instrumentation you to added land. A external country. Another time. Another world.In the expanse of a tender you raw vocalization and cry. Experience stimulate and anger. Awaken to assail and astonishment. You instant modify start insensible and imagine most the terminal lawmaking you read. Your need journeys desire that only so what and you create your possess scene such itter.Fragrances are inhaled. Textures are felt. Sunshine crapper seem blinding. And darkness, overwhelming -–all as your eyes construe the page. You ain't never foregather the author, but the author’s proximity is undeniable; the speaking at your ear, the respite on the backwards of your neck, the vocalization caught in a breeze, a spectral vocalise aimless from daylong ago.I am an communicator and I’m writing, in part, to myself, as there is such I do not poverty to audience or forget. And there are some enchanting, historied moments I poem never to fade,art is always influenced:« Stratospheric echo locates Munch's Scream » Skrik, 1893 Der Schrei skriet Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was probably inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris.More recently, an Italian anthropologist speculated that Munch might have seen a mummy in Florence's Museum of Natural History which bears an even more striking resemblance to the painting.An Inca mummy kept in a Florentine museum might have been a source of inspiration for Edvard Munch's painting "The Scream," did not escape the eyes of Norwegian artist Edvard Munch.(Edvard Munch painted his famous canvas entitled The Scream after seeing some mummies.he replaces his own figure with an image based on a Peruvian mummy.)angst mummieschintzily physique husky swipe restricted and restricted no jokeIf 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