::stonestone::

::stonestone:: the elementals of language; duplications, indeterminacies, and yet the artist does go on perceiving -- a worlding

::stonestone:: an exploration of 'thingness', 'quidditas', and the rereflexive (read: insecure) awareness of medium

::stonestone:: contemplation, language made stone, what matters, the apprehension of materiality//the materiality of apprehension, language-memory-object and its counter-part

::stonestone:: the mimetic fallacy/promise, the dream of verisimilitude

::stonestone:: "Modernity begins with the recognition that the object before me is not a sign but a random particle," so "to make the stone stony is to chip away the inscription someone carved on it; it is to turn signs back into things." (Gerald L. Bruns, "Toward a Random Theory of Prose.")

::stonestone:: "ostranit"-e(n)strangement, the thing made strange, the difference between recognition and seeing

::stonestone:: "A CARAFE, THAT IS A BLIND GLASS. A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading." Gertrude Stein, Tender Buttons.

    The poem
    is the stone
    chipped and hammered
    until it is shaped
    like the stone
    hammer, the maul.
                 Robert Kroetsch, "Stone Hammer Poem"

is this a cost of beauty, the
focus of word and thought to make the thing already there,
there as
object of seeing?
Barry McKinnon, PulpLog