When I think of a fork, art comes to mind. Besides using a fork as an eating utensil, people have opened their imaginations to create art. A fork has simple characteristics: sharp edges, plastic or metal, a handle, and prongs. Going beyond the obvious properties of a fork is what creates the art of a fork. Professor Moss and her love for forks and its impact gave me more insight in what a fork is all about. I browsed a few internet sites, and found these wonderful fork designs shown below. Enjoy!
"http://www.coolest-gadgets.com/wp-images/forks.jpg"
"http://www.jonco48.com/blog/fork_20art.jpg"
"http://ursispaltenstein.ch/blog/images/uploads_img/fork_art.jpg"
"http://www.jonco48.com/blog/fork_20art2.jpg"
"http://fork-art.com/images/professions/slrcamera_Thumb.jpg"
1 comment:
Oh my! --you're not going to believe this, but I own two pieces of fork art, including the bass fork with bass player fork (I'll try to remember to bring it on Monday).
This link goes to a page at Apple featuring the hard & software Felice Frankel (On the Surface of Things) uses in her work.
You might also enjoy this link to an article in which Frankel resists the label artist --a resistance I share, by the way, preparing maker
--I believe that I produce, if an existing form must be used, hybrid essays on the nature of interactions, including interactions that process combinations of imagination and observed activity.
That my essays take advantage of more of the available landscape in the hosting location of an event causes/supports the applicability of the category poetry for what I produce, but I do not assign such labels anymore. I don't mind them, but I do not assign even such a beautiful label to my poams (products of acts of making).
--(the hosting location can be called page, but the definition is not limited to a paper page, and paper usually is not where the event actually occurred; I consider my print poams to be models of interactions in systems, including systems of thought. So though, for instance, my print poams most often occupy flsat surfaces, they are as the nets of polyhedra; they are flat representations of volume, the flat mapping of of 3-or-more dimensional presences.
My interest in the use of rhythmic, expressive language is related to inquiries into the movement of language, gaseous movement, molten movement that stalls as the molten material cools, movement that picks up particles on its journey, wave movement, ejection trajectories, & so forth. Which is to say that just as musical progression can also be perceived as mathematical, there can be science in the movement of language, flow rates, boiling points, and so forth.
Cyril Stanley Smith is the metallurgist I mentioned to you tonight. At MIT, he worked in both the Metallugy Department and in the Humanities. (Oh yeah!)
For a more complete bio of C.S. Smith, click here.
This link takes you to a list of C. S. Smith's titles --you will notice that one is out of stock and the others are out of print. I own (and love A Search for Structure. Some of the aesthetic potential of his observations are stunning for me, such as when he points out that in ancient metals, the microconstituents have usually been replaced by corrosion products, and that the corrosion products >occupy much more volume than the metal they replace.
Now these changes involve chemical reaction with the surface environment --aesthetically, my imagination is well nourished, and I think of langauge situations that can use this info as a stage, as scaffolding for an aesthetic event, as a hosting location.
In this same book's final chapters, Smith discusses interfaces between science and art, pointing out the use of structure in both, and drawing some fascinating parallels in the pursuit of structure
--I wish that he still lived! He might love the limited fork! I was not in a location where I could have developed Limited Fork Poetics any sooner.
Limited Fork could not have emerged by 1992 when I wasn't even ten years out of grad school, and was focused on English, my weakest area (lowest grade one semester) as an undergrad --I guess I still had something to prove in English (not that I still don't have something to prove, but the configuration of something to prove has changed, the former something having corroded away, replaced by a something related to limited fork interactions, which occupy more volume.
--Oh my! --please forgive this long comment.
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