Tributaries & Text-Fed Streams

(conditioned reflex)
made her
being made here
imaginaries
you who are sure of
“fuck (with all the contingent issues of
oppression, power, desire, and violence the
command implies).”
“thinking as bang-path behaviour on
parallel channels of real and virtual syntactic
strategies – including the moment of the absence
of syntax altogether. If the unconscious is
structured as a language, it is structured as
either silence or yammering. The […]

“‘Instantaneous information, what can be seen at one time (without turning one’s head), and understood apart from a study of its parts. Additive information, whatever takes time to be understood, what takes time to be understood. Sequential development, adding on, accumulations of information, the uses of time, precedents, juxtaposition.’
Her work ‘accumulated,’ often no beginning, ending, […]

1.
daub de l’aube de la de lado
granular
“the/a”
body, closed or open
ZONE SYSTEM[S]
“‘Instantaneous information, what can be seen at one time (without turning one’s head), and understood apart from a study of its parts. Additive information, whatever takes time to be understood, what takes time to be understood. Sequential development, adding on, accumulations of information, the uses […]

In his introductory essay to the “Artifice & Intelligence” issue of The Capilano Review, guest editor Andrew Klobucar reflects upon ” several concerns circulating within the literary arts with respect to recent advances in electronic media formats.” If, as Klobucar argues, “that new information technologies, along with the variety of formats they inspire, have […]

Tributaries & Text-Fed Streams: A Feed-Reading of The Capliano Review is exploration of the formal and functional properties of RSS. Author J. R. Carpenter uses blogging, tagging and other Web 2.0 tools to mark-up and interlink the twelve essays of TCR 2-50 and to insert additional meta-layers of commentary in order to play with, […]

In her essay Taking a line for a walk, from the Abbasid Caliphate to computer graphics, or, The Performativity of the Vector, Laura U. Marks uses examples from Islamic art to “show that an immanent Infinite is imaginable in contemporary society,” and suggests a number of ways in which “contemporary works of computer-based art may […]

In the ninth century the Abbasid caliphate, like other burgeoning bureaucracies, needed an efficient and legible script in which to keep its documents in order. Ibn Muqla (885-939), geometer and vizier to the Abbasid court in Baghdad, created a standardized, proportioned Arabic writing based on geometry (al-khatt am-mansub or “proportioned writing”). This standardization was based […]

Calligraphy, or beautiful writing, has the qualities of abstract line at the same time that it signifies words. Calligraphy is the most privileged form of decoration in Islamic art. Art historian Oleg Grabar writes of ornament in The Mediation of Ornament – those signs that seem to mean nothing in themselves – that it has […]

While the focus of the research of TCR 2-50 contributor Laura U. Marks remains primarily on the vector-like qualities of Islamic calligraphy, she does draw our attention to one of the origins of the free and lively line of Islamic art:
I will just note that both writing and curvilinear patterns function in very similar […]

One goal of the research presented in Laura U. Marks’s essay Taking a line for a walk, from the Abbasid Caliphate to computer graphics, or, The Performativity of the Vector is to underline connections, to show the Islamic roots of modern abstract art, which find a certain flowering in computer-based art. Another goal is to […]