XraysMonaLisa.ArchaeologicalNotes History

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March 05, 2012, at 10:39 AM by OtherMichael - franz kline and other delights
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XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, [[NonSequential|non-linear]] and incremental approach to writing, where I could splash text-particles like [[VisualAddiction/Jackson Pollock]], continuously revise a la [[VisualAddiction/Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[VisualAddiction/Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.
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XraysMonaLisa was a writing project I started in 1995. Its roots date back to wordprocessing[^Word Perfect 5.1 for DOS FTW!!!^] experiments around 1990/91, a desire to have an monolithic, abstract, [[NonSequential|non-linear]] and incremental approach to writing, where I could splash text-particles like [[VisualAddiction/Jackson Pollock]], continuously revise a la [[VisualAddiction/Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[VisualAddiction/Mark Rothko]]. My fascination with [[WordSalad/Punctual|punctuation]] and other minor particles of language had a lot to do with all of this.
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I don't know if Marinetti's manifesto [[http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9F06E1D81E3CE633A25752C2A9619C946396D6CF|A Technical Manifesto of Futurist Literature]] had any influence on me, but I wouldn't discount it. Other fragments of futurist manifestos have popped up in my notebooks out of the past; I enjoyed reading about the Futurist, Dadaist and Surrealists during the gestation phases of this project.

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I don't know if Marinetti's manifesto [[http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9F06E1D81E3CE633A25752C2A9619C946396D6CF|A Technical Manifesto of Futurist Literature]] had an influence on this project, but I wouldn't discount it. Particularly since I had read a copy of "Futuris Manifestos" at least once during 92-95. Other fragments of futurist manifestos have popped up in my notebooks out of the past; I enjoyed reading about the Futurist, Dadaist and Surrealists during the gestation phases of this project. Their non-linear approach to language remains liberating, and has surely inspired part of the soul of this project both directly and indirectly.

If Rothko was an influence, how much so was Robert Motherwell, with his ''Dada Painters and Poets'' anthology (which, shamefully, I have never read)? There must be some sideways influences on others who more directly interfered with my mind. I've been aware of [[Wikipedia:Franz_Kline|Franz Kline's]] use of [[http://freshpaint_fkproject.blogspot.com/2004/07/phone-book-studies.html|yellow pages]] for test scraps, something I emulated in my own abortive painted scribblings. And there is that grid, again, a ground-round that is both ignored and plotted against, abused and used, overlooked yet continuously [per|re]spected.

Attach:JK_Phone_Book.jpg


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From 1992-1996 I filled notebook nigh-obsessivly - the notebooking was ironically inspired by this digital project, in the absence of a computer. But in that absence I found plenty -- grid-texts in receipts, the [[StringCanPhone.Keyboard|typewritten]] word (and letters, and punctuation, of course) and others.

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From 1992-1996 I filled notebooks nigh-obsessivly - the notebooking was ironically inspired by this digital project, in the absence of a computer. But in that absence I found plenty -- grid-texts in receipts, the [[StringCanPhone.Keyboard|typewritten]] word (and letters, and punctuation, of course) and others.

Almost none of my physical notebooks have been digitalized, but one scrap is [[http://www.xradiograph.com/GalleryOne/images.01/x-marks-the-spotts.htm|here]] and another typewritery-progentitor is part of the digital collage [[http://www.xradiograph.com/GalleryOne/images.01/x-marks-the-spotts.htm|here]]
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!! Notes
[^#^]
 
 
February 24, 2012, at 10:51 AM by OtherMichael -
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*[[Programming.TextMunger]] - as part of this programming project, I am trying to analyze the hermetic processes used in composing XRML
 
 
February 03, 2009, at 03:35 PM by OtherMichael - notebooks, visual test receipt
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!! tyranny of the grid?
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!! notebookerie
From 1992-1996 I filled notebook nigh-obsessivly - the notebooking was ironically inspired by this digital project, in the absence of a computer. But in that absence I found plenty -- grid-texts in receipts, the [[StringCanPhone.Keyboard|typewritten]] word (and letters, and punctuation, of course) and others.


!!! ATM and other receipts, for instance
Attach:wtf_atm.jpg
([[http://thedailywtf.com/Articles/The-Littering-ATM.aspx|source]])
 
 
January 22, 2009, at 10:28 PM by OtherMichael -
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*[[Attach:February1998.pdf| XraysMonaList Feb 1998]] - WARNING: 6MB pdf file
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*[[Attach:February1998.pdf| XraysMonaList Feb 1998]] - WARNING: 6MB pdf file that has a lot of duplicated pages.
 
 
January 22, 2009, at 10:25 PM by OtherMichael - more notes, ironically
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XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, [[NonSequential|non-linear]] and incremental approach to writing, where I could splash text-particles like [[Jackson Pollock]], continuously revise a la [[Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.
to:
XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, [[NonSequential|non-linear]] and incremental approach to writing, where I could splash text-particles like [[VisualAddiction/Jackson Pollock]], continuously revise a la [[VisualAddiction/Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[VisualAddiction/Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.
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I don't know if Marinetti's manifesto [[http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9F06E1D81E3CE633A25752C2A9619C946396D6CF|A Technical Manifesto of Futurist Literature]] had any influence on me, but I wouldn't discount it. Other fragments of futurist manifestos have popped up in my notebooks out of the past; I enjoyed reading about the Futurist, Dadaist and Surrealists during the gestation phases of this project.


There is something ironic in my goal of flinging words and letters to liberate them from the tyranny of the narrative line having an end-game of a rigid grid of punctuation.

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This is a portion of [[!Reference]].
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This is a portion of [[!Reference]].
 
 
November 05, 2007, at 10:37 AM by OtherMichael - non sequential, non-linear, whichever
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XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, incremental approach to writing, where I could splash text-particles like [[Jackson Pollock]], continuously revise a la [[Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.
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XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, [[NonSequential|non-linear]] and incremental approach to writing, where I could splash text-particles like [[Jackson Pollock]], continuously revise a la [[Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.
 
 
July 10, 2007, at 10:51 PM by OtherMichael -
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*PartialProgenitor
*WorkingScript
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*[[PartialProgenitor]]
*[[WorkingScript]]
 
 
April 30, 2007, at 09:27 AM by OtherMichael -
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*Attach:February1998.pdf - WARNING: 6MB pdf file


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*[[Attach:February1998.pdf| XraysMonaList Feb 1998]] - WARNING: 6MB pdf file


 
 
April 28, 2007, at 01:41 PM by OtherMichael - references to older versions have been referenced in this version
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!! See Also
*PartialProgenitor
*WorkingScript
*Attach:February1998.pdf - WARNING: 6MB pdf file


 
 
April 13, 2007, at 09:09 AM by OtherMichael - added reference tag, to remove from Mappa Mundi
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----
This is a portion of [[!Reference]].
 
 
April 11, 2007, at 04:41 PM by OtherMichael -
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Then there are [[http://en.wikipedia.org/wiki/Acrostic|acrostics]] and [[http://www.collisiondetection.net/mt/archives/2006/08/youve_probably.html|mesostics]]. [[http://www.digitalsalon.com/weblog/pivot/entry.php?id=68|Here]] are some more.
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[[#Mesostics]]Then there are [[http://en.wikipedia.org/wiki/Acrostic|acrostics]] and [[http://www.collisiondetection.net/mt/archives/2006/08/youve_probably.html|mesostics]]. [[http://www.digitalsalon.com/weblog/pivot/entry.php?id=68|Here]] are some more.
 
 
April 11, 2007, at 04:33 PM by OtherMichael -
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(:description writing is archival not archaeological :)

!! [[#history]] History and References.
XraysMonaLisa was a writing project I started in 1995, its roots date back to experiments around 1990/91, a desire to have an monolithic, abstract, incremental approach to writing, where I could splash text-particles like [[Jackson Pollock]], continuously revise a la [[Willem deKooning]], and work within a seamless-void (bounded only by the margins of the medium) as per [[Mark Rothko]]. My fascination with punctuation and other minor particles of language had a lot to do with all of this.

My [[http://www.xradiograph.com|website]] was to showcase one end-product of this work; those versions have yet to (re)materialize online.

Then there are [[http://en.wikipedia.org/wiki/Acrostic|acrostics]] and [[http://www.collisiondetection.net/mt/archives/2006/08/youve_probably.html|mesostics]]. [[http://www.digitalsalon.com/weblog/pivot/entry.php?id=68|Here]] are some more.