MSN

Just had a quick thought... i'm sitting on msn and i'm looking at the different ways that different people approach the layout of their replies on the screen. Some type a word or two then send it, then typea couple more words then send it, so their replies come in short bursts that take up a lot of room vertically on the screen. Others such as myself prefer to type the whole paragraph of what they want to say before sending it, however this makes it looks like a much larger chunk of text, and takes up room horizintally, not vertically.

eg: (note the difference in style betwee chief big science and lanie my schnookems, lanie has vertical style, science has the one bigger line horizontal approach)
[Chief Big Science] - - says:
yeah i put some on myself once and that were fine until they broke and were like as sharp as knives then they weren't much fun
LANIE MY SCHNOOKEMS.... IVE HAD TO MUCH SUGA BABE(haha bec!!) says:
yeh me to ive had bad experiences wit fake nails
LANIE MY SCHNOOKEMS.... IVE HAD TO MUCH SUGA BABE(haha bec!!) says:
they hurt so much
LANIE MY SCHNOOKEMS.... IVE HAD TO MUCH SUGA BABE(haha bec!!) says:
especially if ur campin nd ur tryin to roll up an anex...
LANIE MY SCHNOOKEMS.... IVE HAD TO MUCH SUGA BABE(haha bec!!) says:
bad move


So, this is something I was always conscious of, the difference today is that I realised the connection between this and performance poetry. Some people cut their sentance up in terms of what should be said in one breath, others write the whole line, more like prose. I am a prose msn'er, the person I am talking to on msn at the moment is a serial performance poet msn'er... and it's annoying having to scroll up to see where her damn sentance starts. It is also to do with the difference between people who write impulsively, and those who understand where their sentance will end. An interesting concept really, that could possibly be applied to things outside of msn...?

This would be an explaination for why it worked so well when I put narrator onto my msn convo a few weeks ago - it must like the style where it can pause a lot. I'm thinking of using narrator/speaksonia msn convos in some kind of artwork but the idea is still floating around in the air, not entirely catchable at the moment.

yeah... ok... sorry.

deleuze on writing

“Deleuze and Guattari derive far-reaching implications and uses beyond the analysis of language solely… The first [point] is that expression, in so far as it organises content, remains necessarily blind to the material potentials of its own ordered substance, as, for example, when to represent something in words is, qua representation, to eclipse awareness of the shapes and marks on the page, or the unmeaning physicality of sounds, of the substance of thought itself, depending on the material of expression involved. Secondly, as this might suggest, an expression is a kind of encounter with a content, and can by itself be encountered as a form of content in another expression, and another substance, as when writing becomes read, of then again when this reading is discussed verbally. Thirdly, expression as a selective and organising function is the means of power. The encounter of forces becomes regulated by a repertoire of expressive possibilities, restrictive forms of expression and content amenable to institutional recognition and reproducible identification.
In minor literature, then, workings of power are contested in these ways: content becomes expressive; expression becomes material; and the formal controls of major literature becomes resisted, making of literature something that resists recognition as it releases new intensive forces. For instance, in writing about Beckett, Deleuze discusses how the writer distends and ramifies expression, and hance makes it emphatically inclusive of all kinds of bifurcating, endless, fluid multiplicities of sense. More than this, language itself becomes possessed by its inherent physicality, is placed into movements by sonorous intensities that will not resolve into recognisable meaning. So, where the major use of writing, with its premium on good forms, would subdue such stutterings of syntax, the minor writer, like Beckett, may exploit these to make language partake of something non-linguistic, like an erratic movement of the body:

It is Beckett who perfected the art of inclusive disjunction; this art no longer chooses but rather affirms the disjointed terms in their distance and, without limiting or excluding one disjunct by means of another, it criss-crosses and runs through the entire gamut of possibilities… It is true that these affirmative disjunctions, more often than not in Beckett, refer to the air and gait of his characters: an indescribable way to walk, by rolling and tossing…

An expression can be seen to take on physical properties usually identified with bodies, so conversely, deterritorialized, physical elements of language can overrun expression. In broad terms such a transfer is carried out first by playing on the expressive materiality of contents, so letting writing develop from the a-signifying – the purely sonic, in sound, the asyntactical in syntax. Language approximates, in this aspect of its use, to an involuntary animal cry or whoop, as well as unfolding a conductive surface of proliferating multiplicities and becomings of sense that cannot be simply prescribed, or subdued by interpretation:

We find confirmation of this in one of Beckett’s poems that deals specifically with the connections of language and turns stuttering to the poetic or linguistic strength par excellence… he places himself in the middle of the sentence, he makes the sentence grow from the middle, adding one particle to another… in order to direct the course of a block of a single, expiring gasp… Creative stuttering is what makes language grow from the middle, like grass; it is what makes language a rhizome instead of a tree, what pits language in a state of perpetual disequilibrium…

In these ways, then, words resist the stabilising distinction of expression and content, and the function of representation. Writing plays on, and develops from, the expressivity of its unformed materials.”

This is an excerpt that I have written out all by myself from page 61 of a book called “Lines of Flight” (1997) Edited by John Hughes. It is about the writings of Deleuze, and this is a passage that I liked in relation to this course. The quotes within this quote are from pages 65 and 16 of Deleuze and Guattari’s “What is Philosophy?” respectively.

I am hiding in a maths lab

i am currently hiding in an empty maths lab at the uni. funnily enough on the board are words like 'discourse' and 'ideology'

and i thought to myself

artists have been here.

This however, is not the main focus of the story.

I came here looking for a spare computer, and here I found the rejects from last years crop. This is G31. The maths lab is twice as big as any classroom I have been in before at university level, and it has two long sets of tables running parallel to each other like a shithouse Griffith version of a Hogwarts dining room.

I am here to upload my essay onto the server which I could not seem to access from home. After sending a panicked email to big K last night because my attitude got the better of me when all the smart people were writing down how to get into filezilla, I tried to access my student email this morning to see if he had replied, only to find that it did not seem to be working. I asked the lady in the library what could possibly be going wrong and she advised that I switch to another computer (as I type this what looks to be a tutor has come into this room *panic*), then two minutes later told me that she had just found out that the student email was 'down'. Realising that as I was the first to notice, the email probably only went down about two minutes before I tried to check it.

And I thought

just my luck.

I have tried here unsuccessfully a few times to open the server, my 2173118 being 'denied access' for some reason. but then that attitude of mine from earlier, thankfully, returned, and with one slight change (not sure what I even did, exactly, maybe it was putting an s infront of 2173118 or something totally KNOBHEADED) it let me in.

So this blog is confirmation that I have 'successfully' submitted my essay on time yay! please read the text document before looking at it, if it has even uploaded itself at all.

(just before i write this sentance the maths tutor came up to me and asked if i was a student, I graciously said I would be leaving shortly, to which she said that she was actually having trouble loging in to her account, and could she log into mine so that she could mark an assignment... so if all my work goes missing I blame the maths lady/computer hacker.

"i'll just sign you out when I'm done"

I hope so.

She looks so elderly and innocent... hmmm.)

Again, hope you can see my work properly. signing off and over to maths woman.

I haven't blogged for more than a week now but I really don't have much to say because I am working in my assignment and I don't want to repeat practically my whole assignment in ehre because that won't be fun.

I got a book out from the library today that looks interesting in relation to this course. It is
Featherstone, Mike and Burrows, Roger (ed). Cyberspace Cyberbodies Cyberpunk 1995. I wanted to get it because I like to play with notions of the body in my works, and perhaps this text will support some of the things I plan to create (when I actually think of them) I can't use it for my essay however because I don't think it is really connected to it. But I haven't looked at it properly enough yet to know.

I'm still playing with speaksonia. But now i'm getting sentimental and sad about it and using it to do interesting things with existing song lyrics from sad songs. It's very interesting to try and make the speaksonia person display emotions, which i think is what i have been doing since the first time i played with narrator by making it sound drunk. but the interesting thing is that is still soungs a lot like a song, the speaksonia person literally sings it, given the right words. Songs I have put into speaksonia...

Laurie Anderson - Oh Superman (this one sounds crazy! I had to fix it up myself because all the 'huh's were taken out of the lyrics that i got off the net. so i have changed it around to make it sound as much like the song as possible. it's interesting because in the song Laurie, at one point, talks like she is an automated message machine and when spoeaksonia does that line it doesn't EXACTLY THE SAME it's great. but it took forever to make, i could make it even better but i'm over it now.)
Lior - This Old Love (also used this one in a pic texter pic tonight. one of the most often said words in this song is 'we'll' which speaksonia cannot say, which is funny)
James Blunt - High

Argh they sound great! I even sent one to someone as a wave file over msn!