When are you an interesting writer?

luka

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I term the Immortal One a plasmate, because it is a form of energy; it is living information. It replicates itself—not through information or in information—but as information.
The plasmate can crossbond with a human, creating what I call a homoplasmate. This annexes the mortal human permanently to the plasmate. We know this as the "birth from above" or "birth from the Spirit." It was initiated by Christ, but the Empire destroyed all the homoplasmates before they could replicate.
https://jacobsm.com/deoxy/deoxy.org/pkd_tcs.htm
 
Expand on your language ‘outside time’ thing... there’s great art being ‘timeless’, at the pinnacle you’re somehow articulating eternal truths

And there’s recording the past and also conjuring in or creating the future

I’m trying to read McLuhan Understanding Media again now

I think of art, at its most significant, as a DEW line, a Distant Early Warning system that can always be relied on to tell the old culture what is beginning to happen to it. The artist is the man in any field, scientific or humanistic, who grasps the implications of his actions and of new knowledge in his own time. He is the man of integral awareness. The serious artist is the only person able to encounter technology with impunity, just because he is an expert aware of the changes in sense perception.
 

luka

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I wasn't thinking in terms of Great Art is Timeless. More in terms of eg PKD's plasmate. Or CCRU's Lemurian time war and the Burroughs stuff it's riffing on. Or the Pound thing of 'burstin' through' piercing the time membrane.

The strange things you notice when you have an archive of writing that goes back years.

Or how tripping can seem to take place outside of time or in an apocalyptic ur-time or end time
 
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luka

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What McLuhan is saying there is absolutely true and is the same as Pound's thing about the artist being the arenas of the race. But that's a different thing. That's having sensitive measuring instruments
 
I was actually reading that yesterday it’s a good thread. Yeah I think it’s about the moment and momentum, something about the writing being more of a vehicle than a snapshot?
Just as a weird note, a vehicle not a snapshot is so close to another contrasting metaphor "An engine not a camera" which is a book I just hit on in that Rob Horning piece.

Summary
In An Engine, Not a Camera, Donald MacKenzie argues that the emergence of modern economic theories of finance affected financial markets in fundamental ways. These new, Nobel Prize-winning theories, based on elegant mathematical models of markets, were not simply external analyses but intrinsic parts of economic processes.

Again language, theory, algorithms creating reality, not just recording or curating or interpreting it.
 
The results of a nonlinear system cannot be modeled with a linear function because linear functions plot sequential or additive complexity; nonlinear functions plot exponential or geometric complexity. The mathematical study of nonlinear systems has resulted in chaos theory, complexity theory, and the analysis of self-similar recursive systems such as fractals and cellular automata. Renderings of nonlinear output are considered to be of high intrinsic beauty, (Fig. 1)1 and the repeating forms and patterns are often considered to be spiritual or mystical because they are isomorphic of nonlinear dynamics in biology and the physical universe.
Perceiving dream images superimposed over external space is nonlinear destabilization of visual memory recall. Seeing the formal boundaries of solid objects bend and melt into each other is a nonlinear destabilization of perspective and edge detection in the visual cortex. Hearing a voice on the television or radio speaking directly to you is a nonlinear destabilization of semantic parsing and sequencing. Skipping time, missing time, or moving sideways or backwards in time is a nonlinear destabilization of temporal frame buffering. The basic tenet of psychedelic hallucination is that hallucinations move progressively from linear to nonlinear complexity depending on dose range; the higher the dose the more disproportionately nonlinear, unpredictable, and complex perception will become in response to stimulus.
Sorry our conversation is bleeding across several threads now, so non-linear.
 
When it’s put like that it seems mystical, the muse, the collaborator! And it can feel magical. But it’s also to do with getting to a point where the story or the idea gets to a stage in development where it has its own gravitational pull because it’s so common, because the story has been told before, because it’s mythical or because we’ve been captivated by the story in another form and we know how it goes, and not fully consciously ... so we begin to feel an attraction to a formula, A seduction by certain tensions or resolutions or conclusions. Also about getting to the point where you can become a viable reader of what you’ve written, does this work on me? Where am I thrilled and where am I bored?
 

suspendedreason

Well-known member
I have to be "loaded up." The pail is brimming and now I can just pour it into a Word doc like water. All my best writing happens this way, in a continuous flow over the course of an evening, to be revised the next day in a different mental state.
 
Got some stuff to say do you? Apparently it’s about this build up of tensions and contradictions and frustrations, and then the opening of a channel from which all the shit that’s captivated you, good or bad, regardless of taste can flow. that’s where we begin. And then theres a fierce conversation between this flow and your censor, your sensitive reader with a goal in mind. This is how to write according to Luke
 

suspendedreason

Well-known member
Yes, I think you gotta separate the writer from the censor. Poetry could be different, I don't write it, I only know nonfic really
 
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