Saturday, August 4, 2012

artifact canonization

Notes on formation, revision, time-specific/sensitive issues, use, understanding, and orientation:
An initial insistence of hierarchical values dictated that the timeframe of interaction had continuing repercussions and a right-now weight in the categorization: indicative of a place, more of an influence then than later, or a shift of interaction/connection.  Current orientation dominated even chronological listing as recalling what was listened to, read, and watched became increasingly deductive and dependent upon re-exposure from television retrospectives/late night specials, commercial radio, parental ramblings, and synaptic memory filaments lit and warmed in passing some piece in current daily life – proximity.  Assertions that the earlier the time period the more likely the list was to be fabricated and revisionist in quality was irrefutable.  A reminiscent thinning naturally occurred in original drafts (circa 1999) and pieces initially incorporated for full inclusion could not withstand the on-going scrutiny of each burden or threshold (indicated by headings, the manner in which pieces were part of/contributing to/elements of: It All Comes In; Building; Crumbling; Gardener; Mystic; timcoalman) and gives some explanation for the widely inconsistent time frames inclusive of each heading.

In short, as to what is listed:
For brevity, pieces appear where initially found, though instances abound of some bought and shelved or known earlier but timely later – listed where memory and commonsense dictate.  A creator, author, title, publication, et cetera may be listed in place of a completely exhaustive description due to lack of access to a piece’s proper identifier, inadequate time (or willingness) to specifically spell out each piece, a tentative introduction or understanding, a piece that lacks identification (i.e. from a compilation), and that many pieces are collaborations in creation, execution, formation, distribution, et cetera.  Instead of endless, increasingly unrealistic and inaccurate cataloging/listing of emphasized parts, I tend to the general.

In current gardening, scant sources for what nourishes the mythical life, I appreciate the miners’ efforts and scrutinize their pamphlets and tales of the vein; a tendency towards advancing obscurity – the further in, the fervid thin.  Though willing for “the new,” fantastic care is taken to maintain a saturation of certain qualities, a general condition of selective preference and stimulation; a nurtured vision.  For those who knew my toiling, I leave tool marks.

In short, as to what is abbreviated:
Insistence upon a pattern containing identical formatting and consideration throughout all time periods – the listings properly consistent and mediums clearly replicated – negates substantial and fundamental shifts in how I perceived pieces during and after the “Crumbling” – the convergence of revelations: humbled, living mythically, music a spiritual medium, beginner’s mind, torched, and subsequent oceanic reverberations present in my efforts in each medium (narrative introductions cease at onset of firsthand creations).  Crimped chronology lines, a lightning leader off pop-culture suckling of “It All Comes In” and what I’d been “Building,” these remnants fragmentary at best.

In short, as to what is not listed:
Much inspires moving on, nurturing of my own, or outright fleeing – unfocused complaint or dissection.  Always the unheard of, forgotten, loathed, unrecognized, of disinterest or neutrality, in current exploration, in mind but not yet actually written down or of slivers, slight sway, transitory importance, or marginal interest – pieces that diminish with their presence but wholly absent leave the listing inauthentic – a wide trough of choices, reasons, and excuses to account for the “everything else” unlisted.  Self-centered subjectivity reins.

An array of mediums, in totality, weights transposed across selectively permeable membranes...
Fallow (transcription of living without narrative frames)
Fervor (I’ve visions)
Fertilizer (we’ve lost the top soil)
Fatigue (fuck it, set aflame)
Fabrication (snap together)
Filler (wide aperture)

Though indicating limited presence, abandoned at the close of each time period, insistence otherwise would dictate that each successive list encompass all previous.  For those done, passed off and of no interest save sentimentality, innumerable systems to mark them fading, gone, traded, sold... but always the mess and moving on.

The vast unlisted trove – the general sources that provide topographical introduction, support, familiarity, use, dissemination, debunking, advocacy, and indoctrination of informational content:
1) Dictionary entries, word history and usage, and language development
2) Encyclopedia entries (sought out or random interest)
3) Magazine, Newspaper, Television, Radio, and Internet:
a. News reporting, discussions, propaganda, highlights, analysis, debates, reports, documentaries, specials, investigations, topical programs, educational series, advertisements, et cetera
4) Generalized field notes of: solicitation, influence, classification, demand, control, business, delineation, hate, understanding, faith, collection, documentation, belief, et cetera
5) The worlds advocated or opposed by: the myopic, the fundamentalist, the entrenched, the isolated, those pure of thought, the bigots, the self-serving, the un-experienced, the burrowing, the frightened, the emboldened, the self-righteous.
6) School textbooks, lectures, asides, digressions, assigned reading selections, and peer interaction
7) Library, book store, and internet wandering
8) Entertainment choices studied or explained (audio commentary, examination, revisiting childhood impact points, et cetera)
9) Compilations and anthologies
10) Attendance or participation in programs, seminars, panels, retreats, conventions, interviews, classes, and exhibitions

What is good?  Why have some pieces influenced me while others bore?  Words, much too much...