(TiNe SHARe spelled out in elements from Theodore Gray's custom banner printing at periodic table.com)


 


 When Limited Fork Theory
 entered my consciousness 

as Limited Fork Poetics 

in October 2004 

in the Quality 16 Cinema 

on Jackson Road 

in Ann Arbor, 

I wasn't aware 

of the far-reaching 

implications 

of reconfiguring 

experience 

(which included my sense 

of identity 

and all that I believed) 

as systems of interaction, 

systems of contact, 

systems of access, 

systems of community, 


 

 —so systems of how things come together and what happens when they do, 

how long do/can convergences last? What are the forms of contact?  

What are the consequences of contact?  And so forth.


And a huge question about ownership, right at the heart of every tine I encountered.


Fazal Sheikh has made much of his Human Rights visual work available online in high resolution pdf editions.  This link is to MOKSHA, which may be experienced in English, Hindi, or Bengali.

 

Lawrence Lessig has been a champion of the free disemmination, or sharing, of ideas. 
This link is to his book FREE CULTURE
(about the diminishment of the larger public domain of ideas) which may be downloaded for free.

 

Nina Paley has made her beautiful animated film available for free because, as she states at the Sita Sings the Blues site: I hereby give Sita Sings the Blues to you. Like all culture, it belongs to you already, but I am making it explicit with a Creative Commons Attribution-Share Alike License. Please distribute, copy, share, archive, and show Sita Sings the Blues. From the shared culture it came, and back into the shared culture it goes.

Watch Sita Sings the Blues in its entirety here:

Click here to watch and/or download Sita Sings the Blues optimized for iPhone 3G



The 2009 Elizabeth Bishop Lecture at Vassar College unfolded as a collaborative coauthored installation centered around sensitivity to space and the environment hosting the event, so the physicality of the auditorium participated in visual reconfiguration of the video projected onto it, in the shaping of acoustical space, and in parts of its structure functioning as instruments played by Vassar students who also made significant vocal contributions. No definite or singular author can emerge from such sharing that helps build structures beyond what an singular author could build.  This configurability of information became known as taffy, and the project that establishes access to the video configurations and the sound sculptures that configure and reconfigure the event soundtrack became known as The Mid-Hudson Taffy Company, for the configurability of information, for the relationship of the Mid-Hudson bridge to Poughkeepsie, NY and to Vassar College, the bridge itself part of both the video configurations and the root of the sound sculptures in the use of basic sonic elements from the bridge music by Joseph Bertolizzi in which he played the Mid-Hudson Bridge as a percussion instrument.

 


Soon after practicing this reconfiguration of everything 

I thought I knew, implications of this approach bombarded my thinking (though much of the bombardment passed, like neutrinos, right through gaps without leaving a detectable mark, having passed between tines instead of through a tine) which continued to evolve within Limited Fork shifting, flexible boundaries (or tines).  Within just a few months, what started out as a remapping of poetry became something of much wider consequence, a way to navigate (necessarily incomplete) totalities that shifted according to perspectives and circumstances.  


The tines themselves provided a means to access 

these fascinasting complex clusters of geometries; each possibility a geometrical structure, all of which formed an infinitely shifting, flexible, plastic totality whose shape comes into existence when shaped, whether 

by eletromagnetic forces, direct human observation, theoretical predictions, aesthetic expression, imagination, or madness and insanity, for instance.



Limited Fork had become more than an approach to making poetry and interacting in any way with poetry just by the practice of it as poetry; perhaps it was showing me that the poetry of existence, the poetry of (necessarily incomplete) totality is a way to configure totality that embraces facts and feelings, the spiritual and the concrete, the apparently myserterious and the apparently clear, the lack of solidity (even the surface of the planet moves, tectonic plate shifting reconfiguring the surface, the ratio of land mass to ocean, etc.); something that made itself and made itself again and again, shaped out of resonance itself, 

the big bang a poetic event, the emergence of notions of deity as a poetic event acknowledging magnificence both volatile and benign, gracious.



 



Multiple modes of understanding and acting upon information include more than just those unavoidable modes of sensory processing and expression; multiple modes include dimensions outside human perception, mixtures of sensory modes in which there are fusions and interactions, the tasting of sound, for instance, in various cofigurations of synesthesia which perhaps can/will become tools available to anyone (on some scale, in some location, for some duration of time [which is a configurable concept, perceptual event);


multiple modes of expression include additional dimensions and configurations of mattter and energy.  Including the energy of thought itself (which is a form of the poetry of thought itself), the mind, though housed in a finite (3D) brain is able to access less (apparently) solid modes (poetic states) of existence, dreams where the substance seems more electrical, for instance; so dreams as structures of energy.  Every now and then, there are these little jolts, these mini stimulations via static electricity, an exchange of electrons between that carpet and me, the doorknob and me.  


We connect on a fundamental level, 

collaborate on a fundamental atomic level.


—With sufficient amplification of some form, perhaps the energy that thought is can acquire sufficient power so as to manifest in some form outside the cranial confines into some form of more easily shareable locations—


Of course Limited Fork is not new in practice; the practice of limited fork embraces and is embraced by: 


  • the history of dream, 
  • the history of desire and longing, 
  • the history of belief, 
  • the history of hope, 
  • the history of evidence, 
  • the history of science, 
  • the history of technology, 
  • the history of the stars, 
  • the history of energy, 
  • the history of existence.

  • THE HISTORY OF INTERACTION

 

Yes; decidedly fractal, decidedly entangled


influence exerted across wide fields, mutated influence as what is exchanged and shared is interacted with on every possible scale of contact and interaction, including illusion,

interactions with only reflections, shadows, and ideas of things rather than what might underlie reflections, shadows, and ideas of things.


These widely divergent iterations and forms of (mutated) existence; these widely divergent strands of possibility, these widely divergent tines of existence are in numerous dimensions, numerous forms of infinitely generative existences on numerous scales.  


Depending on location (circumstances and conditions are part of/are also locations), it may or may not be possible to access or become aware of some of the forms of tines, but they are connected; are vibrations and resonances of a single thing called existence 
(a configuration) whose form is unknown, whose magnitide is unknown, but is something of which we are active parts, dynamic parts (according to a perceptual model).


 

Thisnext video can function as a model of a configuration of a super cluster geometry
of multiple realities, multiple universes, apprently functioning independently
(from a perspective framed by each reality/universe, for instance), but entangled;
activity in one location, through a chain reaction of sorts, for instance, influencing
any other location through the resonance of indirect contact —epidemics of influence.

 

 

The awareness and understanding that came to me in the Quality 16 Cinema on Jackson Road in Ann Arbor in October 2004, came to me as an epidemic,  an epidemic that belongs to the resonances and vibrations of existence of which the epidemic is made.  An understanding, a configuration of meaning occurred to which interacting circumstances and interacting variables included me in the interaction, perhaps as an outcome system of some form of mutual invitation, so I cannot claim ownership in the manner in which ownership is customarily claimed, though I was in fact a conduit through which others, by invitation (please RSVP here [this link opens email] or on the contact page), may become co-users and co-owners, co-caretakers (gotta take some responsibility for information configurations), etc. of limited forks.


An epidemic of interaction


An epidemic of collaboration


with everything (in an allness of an interaction set or system) having input, having a role in shaping things,

on that day, into a fork that needed the circumstances (as configured by the moment)
of that moment (as configured by circumstances) to become something more definite
than a background hum (or than a frisky neutrino stream).  Intensity increased


and took a shape graspable in the (configurable) geometries of my thinking: a fork


that because of its very structure, the tines themselves, resisted unwavering reliance on solidity; it had blind spots, immediately in this initial use, the tool helped me overcome an idea that with it I could ever access everything,  as I was reminded of possibilities of escape and loss in the gaps, and there was emergence of even more gaps as I used the fork to  explore gaps, always on the surface of encounter, depth part of the gaps, part of the unvisited, the unaccessed —for as some soon as I arrived anywhere, I was placed on the surface of that arrival, the surface of location into which I had cut, depth relocated to somewhere that I wasn't.


 


What I had access to was


A fork that belongs to 

all of its collaborators, 

all of its contributors, 

all of its partners, 

all to which it is connected, 

so also to all of you.


The Limited Fork belongs 

to anyone who finds it, 

to anyone who has used it 

without realizing that the tool 

had been used.  


I have only organized it, 

have only given a form 

to the tool, have only assembled 

an awareness that can make
fundamental arrangements (tines) 
of reality 

(and realities within reality)



 





—tines

even more profound, 

more flexible, 

leading to the exposure

 and emergence 

of many additional possibilities 

on many scales, 

across many scales, 

across many boundaries; 

leading to more ways 

to form connections 

and build structures 

that have not been built before
(in identical parameters of this configuration), 

and might not be possible 

without use of such a tool.

 


All (that is: an allness) of Limited Fork
is here, 

a configuration of an allness,

that is to say:


what limited fork websites contribute,

(a taffyesque —flexibility of information

don't you know—)

a forking root system 

of Limited Fork Theory


and what this site links to, 

what those links link to, 

and what links to them.



 (And that includes a link to 

DOLLS LIKE ME,
a place where mixtures, combinations, 

fantastic promising systems 

of complex identities 

can be found in beautiful dolls.  


There are even more possibilities 

for human configuration, 

human constellations of evolution. 

and there really is a doll like me there, 

by the way, in the ongoing moment of my visit,

a moment extended by this sharing, an active past event, one still being actively hosted.)

 

       We are dynamic parts of the dynamic systems of existence.


       Our thoughts are part of the energy of existence.


      We particpate in the universe, 

      contribute to it, 

      shape what shapes us.


We are part of the energy and matter of existence.


 


Next two  Light Writing videos as metaphorks of string theory dimensions and tines 

of forking universes.


Strings (tines) of light to twist

into and out of configurations of connecting / disconnecting / reconnecting reality.


Try playing some of the videos on this page simultaneously, some or none with audio, or with varied audio; videos begun at different times, paused at different times; orchestrate the viewing, if you like, into other extended meanings, into a form of kaleidoscopic extension of possibility.


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