Tuesday, December 13, 2016
Word on The Street Walla, A Murmur
These frigid days up Walla way what dreams become us in the sleep of winter deep? To dream is to be, in dimensions. Thus, we forge ever ahead on the multi-valent project of life as prism to the multi-verse. Stop in, step in. The project of bringing these thousand eyes into focus is a vast one. Rumble and quake, the noise we make, thundering in the blues. That is the entrance of La Luz and Scarlet.
Sunday, July 24, 2016
Lazy Days of Summer
Summer up Walla way has been unusually pleasant this time around. Somehow we're having the balmiest of days and splendorous dreams anight. The Wicked Witch of Everywhere is knocking around these parts of late, but that's been not at all a problem. It seems she's been occupied with some very prolific hexifications. So, baile.
Tuesday, June 28, 2016
The Other West From Walla- Dance
Born William West Anderson in Walla Walla, September 19, 1928, he later became Adam West. Batman to you and me. He graduated from Whitman College and may have done some other stuff.
Sunday, June 19, 2016
It's Not Just For Owls Any More
The octopuses are not what they seemed. Many things are not what they see and seem. Dream within dream.
Monday, June 6, 2016
The Algol Variations
Black is extrapolated.
The third phase,
its nature gleaned,
by observation
in the variations,
in the dance of
red and blue.
Break through.
The third phase,
its nature gleaned,
by observation
in the variations,
in the dance of
red and blue.
Break through.
Saturday, June 4, 2016
Sunday, May 29, 2016
Found: Dissertation authored by WW of West Texas *evolving*
That's right. We have finally found it. The fabled dissertation of the Wicked Witch of West Texas, authored before she decided to hex all of academia with a curse of endless administration. So, without further obfuscation, here is a snippet. Enjoy.
New Forays in Textual Facade Studies-- Invidious Citrine: Chromatic Jalousie and Verdant Permutations in Intertextual Deuteranopianism by W.W. Texas
Value, hue, saturation; these chromatic expressions of perceptual textual facade variation in interpretive strategies of tegumentation and its concomitant discursive representation, rich with possibilities for ambiguation vis-å-vis the camouflage, masking, smoke screenery, overlaying, fig-leafing, varnishing, disguising, veneering, dressing, and even, sadistically, binding, the text, constitute a rich sphere in which enervate our linguistic examination of formerly immersive approach to dialectical assayment, augmenting previous etymologic, syntactic, grammatic, lexicographic, scatologic, flagellatic, chaotic, self-referentic, ego-centric and other word-dependent analytic methodologies. At a moment in criticism, having lost the thread, as it were, oft finding in the ruminatory probing, psycho-logical trasgressing, alphabetic "taking" of those most vulnerable constituents of linguistic expression-- words-- discovering in the heart of the labyrinth the dreaded unknowable, the interpretive conundrum-- ambiguity itself-- the dreaded Minotaur of all comprehesatory enchantaric neutralization schema, we find a more fertile field for despoilment in the frank examination of the facades of those ultimately over-complexified, word-bound confuscatory arrangements of hegemonic articulatory linguistic spectacles we call, for lack of a better descriptory proposition, texts. For what, indeed, how, are those enigmatic arrangements of marks, their subtle and oft, ultimately unknowable, arguments, without the enveloping delivery device of the too often unexamined cover with its myriad inclusions and disclusions of chromatic exposition?
This approach, necessarily, requires a recalibration of literary discourse, privileging, as it has the interiority of of the text with its concomitant excess of introspection born of opaque, or at the very least, befogged indulgences in subtleties, vagueries, multiple referential significations, and other ambiguities over the glorious knowability of the palpable and under-appreciated, wholly knowable covering of that messy thing that all acknowledge requires covering at minimum, and at best secure binding. So uncritically valorized, the privileging is of the dank entrails, the dark bowels of books, that this prejudice is enshrined in idiom: "You can't judge a book by its cover." But why this restrictive disassociation of the text from its context, its delivery mechanism and the interpretive information transmitted by the covering chosen? Are we also to disregard other signs simply based on their exteriority? Would one disregard the label on a bottle advertising the contents as poison, or perhaps a delicious treat? The sign on a fence warning of dangerous conditions inside, or of a shangri-la? So then, why would one disregard the package in which a book is delivered?
New Forays in Textual Facade Studies-- Invidious Citrine: Chromatic Jalousie and Verdant Permutations in Intertextual Deuteranopianism by W.W. Texas
Value, hue, saturation; these chromatic expressions of perceptual textual facade variation in interpretive strategies of tegumentation and its concomitant discursive representation, rich with possibilities for ambiguation vis-å-vis the camouflage, masking, smoke screenery, overlaying, fig-leafing, varnishing, disguising, veneering, dressing, and even, sadistically, binding, the text, constitute a rich sphere in which enervate our linguistic examination of formerly immersive approach to dialectical assayment, augmenting previous etymologic, syntactic, grammatic, lexicographic, scatologic, flagellatic, chaotic, self-referentic, ego-centric and other word-dependent analytic methodologies. At a moment in criticism, having lost the thread, as it were, oft finding in the ruminatory probing, psycho-logical trasgressing, alphabetic "taking" of those most vulnerable constituents of linguistic expression-- words-- discovering in the heart of the labyrinth the dreaded unknowable, the interpretive conundrum-- ambiguity itself-- the dreaded Minotaur of all comprehesatory enchantaric neutralization schema, we find a more fertile field for despoilment in the frank examination of the facades of those ultimately over-complexified, word-bound confuscatory arrangements of hegemonic articulatory linguistic spectacles we call, for lack of a better descriptory proposition, texts. For what, indeed, how, are those enigmatic arrangements of marks, their subtle and oft, ultimately unknowable, arguments, without the enveloping delivery device of the too often unexamined cover with its myriad inclusions and disclusions of chromatic exposition?
This approach, necessarily, requires a recalibration of literary discourse, privileging, as it has the interiority of of the text with its concomitant excess of introspection born of opaque, or at the very least, befogged indulgences in subtleties, vagueries, multiple referential significations, and other ambiguities over the glorious knowability of the palpable and under-appreciated, wholly knowable covering of that messy thing that all acknowledge requires covering at minimum, and at best secure binding. So uncritically valorized, the privileging is of the dank entrails, the dark bowels of books, that this prejudice is enshrined in idiom: "You can't judge a book by its cover." But why this restrictive disassociation of the text from its context, its delivery mechanism and the interpretive information transmitted by the covering chosen? Are we also to disregard other signs simply based on their exteriority? Would one disregard the label on a bottle advertising the contents as poison, or perhaps a delicious treat? The sign on a fence warning of dangerous conditions inside, or of a shangri-la? So then, why would one disregard the package in which a book is delivered?
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