THEORY OF THE HISTORY-PROJECT NOVEL
THEORY OF THE HISTORY-PROJECT:
1. How the History Project works or fits in Visually
2. How Tan Caravan Jazz prepares for historiotherapy through improvisation and leitmotif or personifying multiple & distinct rhythmical/harmonic/melodic orchestrations a-temporal or contrapuntally non-reliant orchestral modes
An improvisatory demonstration like painting, can be both mythical and philosophical, logical = hence, a novelistic phenomenology (historical self-presentation through physio-imaging of projection laws).
a) Tonal Cinema
b) Novelistic phenomenology
c) Historiotherapy
d) Physio-imaging (as self-presentation of history or relational linguistics)
Tonal modules + lines of development = a propositional calculus or symbolic logic.
Assembly = the abstraction of positionality (i.e. grid, design, architectonic) and delocalizing geo-grammars / contours / determinations / objects / concepts / motifs / planes = contact, pathways.
Transition: becoming, variation, transformation, metamorphosis, series, sequence = mosaic of episodes, repeated frames in continuity: a)speed integral, or b)hue integral (one plate in T/I/C has independent or sovereign internal foci or nodes which can change or not change, in movement: number, position (in itself or for other), self-relation = bus to exodus, delocalization = delirium / paranoia = metaphysic of movement, i.e. transition / projection / variation = tonal cinema, the projection of indeterminacy, interval as in-itself, affirmative.
(In Metaphysic of Art Movements, vanity, the vanities, is those transitions of points or micro-aggregates, i.e. montage as unity, as modus of interval contact.)
(Linear projection of separate / distinct / sovereign distances or intervals, if further transition undertaking, i.e. bus to exodus or delocalization, i.e. delocalized, projective displacement vs. integrating / ratio-integral — ratiocinative integrity; see Proportion.)
Then: a)Equal number of elements in the case of the projection of a triangle, vertices, kept number, i.e. Name (Painter A.), for metaphysic of art movements Name is i)Guild name or ii)pseudonym for, I)a selection of writing by one person, a mode or field-specific body or style, or II)name used by many generations of artists passed on as a schematic, name as textual-exegetic schema similar to tonal cinema’s authorial thematizations + thematization of textual modes, i.e. a text / writing’s attributes dialogue, leading to internal displacements or confined ones (auto-limited) — b)or then in exodus the number declines or augments or c)cross-pollination, interference with a)Atmospheres or b)Other one-of-the-above autocratic development modules / House (House as room-organic + habitation — see plumbing — so that this thing, a projection but projector + projectionist + projection itself, one moment or first dimension, is both grid — relational linguistics and operant bodies as proto-signifying, i.e. the film material before vision or technical manipulation, or of geo-grammatical, topological “vanities as obscurity, the dark backward abysm of time green when death-motivated or ‘exhaustive’, black when self-negating or auto-exiling / alienating”, etc., etc..) So that one prism, i.e. prison or chamber, i.e. unit, can integrate with another with aforesaid possibilities: a)number keeps quantitative integrity or b)number augments or diminishes.
(Attributes of one moment can keep or vary, in movement of transitive projection.)
(Interval is lines from x to y, their domain; contact is integrity or synchronicity.
In Music:
Ex. I am Time
A Voice and an Instrument coetaneous : Both instruments have respective physical bodies however transient : also their shape / texture / tone, frequency / pitch, phraseology, harmony (internal relation, i.e. internal-cohesive Qualities but also in relation admit projections, through time to next general module or habit-scheme called bloc or segment, coin, leitmotif, kernel, theme, that are prescriptive, auto- or towards-, and self-authenticating, which is movement to next frame but
(And also a lexicon can work like this to give a physio-imaging lexicon iconology, i.e. cinematic technical-habitual hence formal-critical self-presentation as historical, i.e. memorial / documentary & operant evidence, in law evidence which forwards defence, impedes, or is useless, or a)changes internal integrity of one hearing, or does not, to the next — Qualities of Projection — but also physio-image, physio-imaging vs. projection.)
(Projections can be 1, 2, 3, or n-dimensional, each with optional modes of behaving viz. integrity or sympathetic participation / influence / the illusory / vanity: <<It’s a fragmentist and ongoing symphonic, critical interpretation.>>)
Man of Passage is persona for Transition/Interval/Contact (T/I/C) itself as object = hence, Baron is not there, is cultural memory, absent, or impending arrival, omitted, etc., because he is interpretend, i.e. telescope, Eye of Text, or “Sir Iris”, lens mechanism and his movements are like T/I/C novel by Kropotkin (or Painter A.) in my novel : Painter A. because he is first position, mine authorially but also of efficient import in Textbook of Painting / Art history and so of the History-Project = he is personification of the images of the text, Character of Quality, Projection of Textual Qualities, i.e. Projector/Projectionist, in Passage / Transition = Crackland, Land of Fissures, is land-between (Mesopotamian) projector and screen, of intererence / vapors / abysms; Crackland is dark-backward transformative (vanity) vortex of integral variation between Baron P. Projectionist and Dream Assembly, i.e. both library of reels and techniques of Projection, hence vortex dome-fresco Eye in itself as near-absolute and private, experiential modulus in interpositive, variable contact with Screen, i.e. Medium = hence, Boy is Messenger, Light, also Medium but passive of legislature but an active participant in Tonal Cinema.
Boy crosses Interval; Baron fixes, contacts, collects; Assembly, i.e. Cemetery or “The City”, i.e. Projector itself or god-machine, village, room, JUST IS.
(There is no meaning without the domain of the interval because projection could not take place — Habitation.)
Ecstasy of inhabiting the habit system, of having an identity skip through technologization of the ego : a)through physio-imaging, b)novelistic phenomenology, c)defragmentation, d)focus, e)decrypting / reading material memory, etc., f)and through influence, i.e. democracy, love, or sympathetic participation.
Habitant as persona for characters; hence, in T/I/C / History-Project in my novel — Habitant interprets characters’ lives (Evelyn, Dr. K., as political prisoners) and letters are “Boy” or messengers / lines of contact, arabesques between blocks / types / plates of segmental tonal effects which are self-presented in so many ways specifically for historiotherapeusis for “The History Project” to be both reading and writing, coequal, of equidistant sympathetic participation or resonance, i.e. love, technique, craft, contact as distant closeness using identity and its metaphysic to prove that physio-imaging is T/I/C and that a lexicon iconology in the Metaphysic of Art Movements not only exists but in its “relational-linguistic novelistic-phenomenology” form can provide a new understanding of images, sounds, and their possible interpenetrative and variable utility for interdisciplinary projects which get lost in needless and time-consuming (exhaustive or detrimental) foothpaths and therefore a New Vision of Theory is both a cyclopedia / textbook / manual and helps build a national identity as History-painting in hopes of resolution of Canadian homeland policies concerned with dispersion or averaging-out of population versus present city-state agglomerates which reek of Island Fever and painful Hysteria. Moral: learn to read without eyes and use relational method of development of demographic solidarity, i.e. granularity, i.e. heterogeneity giving tools for networks of free-floating citizens who can create sitespecific or nonsitespecific collectivities using whatever economies aid solidarity, i.e. are useful, to the sovereign & popular locality.
<<These economies are performed in text to prove their utility / efficiency.>>
Sitespecific community: House, zone, district, domain, barony, book, shelf, library
Nonsitespecific community: Trade, service, non-forceful governance
Legislature: Custom of Montreal, A. Non-coercion / B. Freedom (Even to try and be coercive! try if you can!)
Deprogramming: in novel, Montreal is about to have a crisis, complete terror, is a race with time, i.e. dance of life, and says a lot about Pace and Rhythm.
My Insomnia is based on a fear of dreams and how they are more real than we are and we don’t get to share them without awful problems; hence, logic of human imagination is symbol-operant mosaic of episodes…
Proof of a Physiological Basis for the
Concurrency Presented by History:
or, The Polynomial Affect of Simultaneously Lived Times
Re-presented Through Applied Historical Methodologies
Sunday, March 02, 2003
10:43:26 PM
1. Experience of History. Living presently in March, 2003,
The excitations and relaxations of things felt. The manner ways in which history has been [re-]presented. Belief in physiological basis for so-called ‘historical consciousness’ hereby reduced merely to historical presentations, esp. to self. These occur within the reach of metabolic systems, an endogenous capacity to preview structuration of historic consolidation, compression, condensation, concentration, or cohesion. Mainly from preview of intracellular collagen. Mitosis therefore presents dispersive analogies in mentalistic reappraisal of physio-image, i.e. electromagnetic, electrostatic, biochemical, viz. organic proof of seen historicity.
Bio-image, geo-image: tectonics of sedimentary layers, geological model of thought. Eye Affects: muscular (fibrous), electrochemical (circuitous). Impulse as shoot; homo habitus as lightning or graven image or grooves on a phonographic record. As tributaries towards for the gulf.
I think that at some point these things are felt.
It will have been said, it will have will been said, there was a new tense I dreamt of, that which I am doing, that which I will be doing, that which I will have been doing, that which I will have to have been doing,
do = will do = will have done = will be doing
Splice Civil Code of Lower Canada & J.S. Mill’s Representative Government + book on Seigniorial system in early Canada = Legion, my writings on the Dream Assembly, just called The Assembly. A thesis on representation, on representations of representation, its processes, procedures, schedules, minutes, contracts, and prescriptions. How the moment is inscribed, the messenger-system of historical, geo-grammatical, and binomial concurrency.
Proof of a Physiological Basis for the Concurrency Presented by History = Moral Philosophy, a Philosophy of Habit to understand History on a personal, physiological level, through habit and the understanding of them.
Proof of a Non-Mechanistic, Non-Deterministic
Physiological Basis For Technical Application:
“Special provisions concerning the redemption of the rents substituted for seigniorial rights, are contained in chapter forty-one of the Consolidated Statues for Lower Canada.”
Geography is programmatic of Geo-grammatic formations. Prove organic, fluid concurrency of person and historical landscape. Reading through newspapers, reading through Civil Code of Lower Canada from 1898 or ABC of Gothic Architecture from same year. Reading about the Seigniorial system in Early Canada, reading about Life on a Medieval Barony and shapes concurrently exist grammatically, syntactically, and tonally. This is an essay on Tone, not intonation, but tonal spectricity of presentation/demonstration, of actual technical application subsisting historically. The concurrence of past production and present re-visiting has a resonance. I therefore live history in this way, and through the action of writing myself, I prove the organic, fluid concurrency of past and present: I prove the geo-grammatical binomial historical methodology of self-presentation. This is moral philosophy in its Curative State.
Those were my proto-grammatical, proto-spatial word-originaries, my conceptoid blocs.. I dreamt of legislation, of prescription, inscription, subscription, plates and templates, thick plates like Riopelle paintings.. artists respond to a time.. what I think I choose as an artist, as material, subject, etc., has already been chosen not by big marketing companies but by the lived time of all the species.. I shape tools, and I believe that thought in the last five years has evolved to more simultaneist proportions.. conceptual, thinking in different zones, different manners.. white is not a color, but to a painter it is, it is a tube of paint like all others, it is pigment.. it is a stuff you apply, it is paint, that is undeniable.. white is paint like all other paints, and to me it is a color, I treat it as one, there is no hierarchy for painting as regards the application of paint materials whatever their hue or color or position on the spectrum or beyond it, like black and white are supposed to be..
Foucault studied contingencies. He looked, in History, at that which outlives man, his institutions, his discourses, all material extensions in history that are not man. Foucault did not care or show care in his writings for logical analyses or grammatical analyses. He was not a literary analyst, per se. He was a discourse analyst, but specifically, I would say, a historical materialist of a greater order than a Marx. We could see Marx as studying money, capital, commodities, but Foucault studying Banks, something like that. A greater order, something more necessary and useful for today.
The Polynomial Affect of Simultaneously Lived Times
Re-presented Through Applied Historical Methodologies
Geotectonics on a grammatical scale, with tonic accent, with habit, mode, behavior. Geospatial, geotheoria, a spatial scale, geo- ecological, meteorological influence onto habit.. habitance is spatial environ, from the settlement to notary drafting, the seigniorial system, a system of settlements, title-deeds..
Tuesday, March 04, 2003
globular globulation small
Manipulations of Time on Sherbrooke Street West, between Claremont and Vendome: antiquary, art store, Jean Coutu, flowers, etc.
indubitably corroborating verifying
linear segmentation with multiplicative endurance for interpretation
oscillation oscillate eradicating denotation spectatorial interpolation
evince conjunctiva
Object-less and therefore eliciting
mismatch between mental landscape and technical echo-placement
extracting
transmutation
tension, pressure totalitarianism Heisenberg corpuscle corpuscular
In short, the painting manipulates electrochemical impulses from retinal excitation through technical strategies of repetitive and continuous disparate application of pictorial units varying yet monochromic, and the mosaic effect of nondescript electromagnetic flatness on the spectator’s affectivo-plastic subjectivity is of a horizon renouncing any nearness through the constant variable of irredeemable distance forbidding passage and therefore resolving in a globular-spherical, orbital and periodic projection of memorial retention on the hymen of the visible.
supplementing vision with its own inert facticity
corridors arcade
Passage in/of History in/of Painting
The Manifold of Throughness
c)the possibility of passive spectatorship
conversion, subversion diagrammatic extrapolation: or cartographic
atmospherics uncertainty obscurity ambience atonality aleatory aural trace template vagueness haze or dimness
assigned prescribed authenticated vagueness prescription of vagueness, drafting, title-deed, notary sketch promissory note coupon skeleton draft draft
and by procedural acts of habit, habitation, occupation, and settlement,
possession or mitosis of retinal impression into electromagnetic intelligence of pictorial prismaticization. granular granulation
reflecting implicit inherence of material objectité
stages of projection
negotiate, to fix, to arrange, to repair correct adjust mend emend
strata skeletally adjustment
modal rearranging arrange
metamorphosis metamorphosis transformation alteration shift variation movement change mutation turn transaction transduction motivated array rank order degree grade station to stop lock stitch chronicle endearment entertainment spectacle opera theatre
material intelligence expositing objectness incapable of retrieval by host body unless host exists in thing-state sympathetic participation
Man thing God
image figure form icon facsimile mirror copy counterpart reflection
enunciative articulative demonstrative
corpuscle corpusclation corporealisation
simultaneously
segment
Retinal Painting as Presentation of History
Retinal Painting as Disclosing Historical Figures:
Historical Figuration through Retinal Physio-Imaging:
Historical-figural Structuration Represented through Retinal Physio-Imaging:
Bio-Documentary Evidence: Historic Structuration Represented Through Retinal Physio-Imaging, or The Living, Congealed physiological
Bio-Documentary Evidence: Historiography
Represented Through Retinal Physio-Imaging:
deposited aggregates
migratory
what could tentatively be called physiodramas
Vitreous
puncta lachrymalia (the lachrymal apparatus)
structure
Motif as periodus of periodicity.
Motif as tectonics of periodicity and periodization. in segments, clusters, or figural trajectory.
graphic or draft (delineation, projection, diagram) eventually the compressed template.
aggregation inscribed in graph or prescribed in a draft (delineation, projection, diagram) forming the compressed template.
compression or compaction (within implication) operating with that suddenness and simultaneity involved necessarily on account of the immediacy
which implication involving immediacy of necessity.
Intensive gradation is self-contained.
Convergence on fibre transduced according to maintenance schedule.
managerial script channels under axiom of assembly
basis of uniform reflective-horizon
Projection a retainer of metabolic integrity.
metabolic retainer preserver
of the period consolidation,
as diagrammatic edict of the orbital consolidation / distribution
dispersal dispersions
However, by reason of the Vitreous element, one may remain reflected indefinitely and risks detotalizing the conduit.
As inhabiting, Habitant proffers collectionism in contact once the interval converts peripherally or in spikes.
Therefore, as object in range of mobility, Habitant inclines plane to assemble prescriptive Projection in gradated calendars exhaustively fixer
Here is proof, then, that historical topics can register on the domain of the Retinal theoretic of bio-speculation.
Retinal theoretic of biologic physio-speculation.
biochronicling presentation. entity. physio-imaging wherein…
Territories:
an Uncharacteristic novel
I The House: memory, architectonic of memorial house, system beginnings, mechanistic pantheist philosophy of living matter, organic House, spiritual architecture, study, bookshelf, cellar, house of dreams, visions from the basement, the house as casement/encasement, Interior,
II The Office: writing-desk, pen, quill, inkwell, paper, trashcan [trashcan aesthetics], diagnostics, cue-cards,
III The Prison: Prometheus chained, the Trial, the Castle [Kafka], bureaucracy, institutions + institutionalisation, contracts, letters, Noise [sequence], Abysms, tormented, nightmarish, pain [penal colony], punishment, disobedience, deviance, degeneracy, Enclosure,
IV The Cemetery: tombstone, gravestone, park, forest, shrubbery, epitaph, epigraph, inscription, mausoleum, archive,
V The Carnival: carousel, the Circus, the Fair, the Universal Exhibition, Cabinet of Curiosity, ecstatic system,
VI The City vs. The Village:
VII The Baron: Cyclicus Scriptor, bus to exodus, Cabinet-Theory-Spectacle, Black philosopher, Man of Passage, the Instrument, the Agent,
VIII The Boy: Mediation, passenger,
IX The Doctor: Prescription, Journal, archivist, archaeologist, philosopher [White],
X Painter A.: Cyclicus pictor, Technique, Image, Iconoclasm vs. Iconophilia, Gallery,
XI The Assembly: Habit, Vocation, Moral Philosophy, Agency, Constellation, Cluster,
XII Pathology of the Meta-brain: Ecstasy of the System
IN CONCLUSION: The concept behind this project is primarily the box, container, holster, compartment, apartment, house, closet, or enclosure. It is made of two decorticated boxes screwed to two ornate pieces of wood from a frame. It is the Cinéma Tonale, in a sort of neo-Gothic architecture, highly fragmented, representing both our collapsing Tower of Knowledge and Information, and the mounting Empire of Neo-liberalism or Great Wall of Capital built on the masses’ commodity fetishism and anaesthetised minds. The body is a wreck, is in pieces. The body as memory has become packing material as Memory, as material memory of Capitalist times. The separate histories of the materials combine in an assemblage of ideas, colors, lines, and trademarks. Designs are contracted into the space of the building, yet not blemishing its flatness, though rendering it somewhat ulterior as the piece enters interdimensionality, between 2D and 3D and 4D. The Fifth: the Dream Assembly, the Crimson Order, the Scarlet Brigade, host of consanguineous entities. Warriors of the battle of the senses. Clans, ranks, departments of the Dream Reality. They write the dreams and lives of everybody. It is a council where spirits have meetings and decide the universal path of mankind. Beethoven helped build the Cinema. Psychology, Musical Harmony, and Physics: ars combinatoria. Historical materialism in art. My ancestors built their houses out of stone and wood, hay and mud. The hides of animals.
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