Blurted Ideas For Book

Blurted idea number 1

Minibus coincidence. a man possibly, some sort of official, is being showen  around number of locations say in Austria?,  Holland?, Poundland in England?, the last point before he departs he sees a red door in a building. He gets on the minibus, to the airport. He departs will stop maybe something happens on the aeroplane?. He arrives in China gets in a minibus.  He gets out of the minibus, he sees the same building in the same red door, story hinges on this point. He thinks about it the same building in 2 different locations the differences and similarities. It turns out he's in a recreation in China of the place he departed. Minibus was a Chinese re-creation of Ford transit?  some other type of minibus ? But with the Chinese name. Maybe not any point with that.

Story could  then show, the 2 locations from his memory with overlaps  drawn on transparent pages. Same device can be used for other  coincidences.

Blurted idea number 2

Coincidences mesh flow-through structure of book eeriness is doubted by narrator? Possibly a character doubting  any supernatural element. Proof is required of unidentified cosmic coincidence force? , unidentified force in general, maybe. Proof is given at or near conclusion of book in the form the fake book compartment housing  Book inside book. This internal book will, confirm   eeriness  if opened out the right stage. Book will curse viewer if opened at the wrong stage.

 Not sure how to do this. perhaps there will be  2 dreams, maybe towards the beginning  or somewhere else in the book. If you were to open the book inside the book at the wrong stage you would confirm dream number 1 the book inside the book would inform you of this.  if you have however open the book at the right stage then dream number 2 would be confirmed.

Or maybe it would just be a case of the dream coming true or not coming true, or the reader being cursed with the dream happening to them  as per the type of events witnessed in the narrative. The uncanny could leave the book and enter into the real world of the viewer.

A Selection from Selections from the Works of Fourier....

This is Charles Fourier's thoughts on the arrangement of labour I really like the lists that he writes like this one and very much this one. I also hope that I would be able to prove my "integrity and ability" but worry I might not.....

IN THE CIVILIZED MECHANISM we find everywhere composite unhappiness instead of composite charm. Let us judge of it by the case of labour. It is, says the Scripture very justly, a punishment of man: Adam and his issue are condemned to earn their bread by the sweat of their brow. That, already, is an affliction; but this labour, this ungrateful labour upon which depends the earning of our miserable bread, we cannot even get it! A labourer lacks the labour upon which his maintenance depends- he asks in vain for a tribulation! He suffers a second, that of obtaining work at times whose fruit is his master's and not his, or of being employed in duties to which he is entirely unaccustomed . . . I The civilized labourer suffers a third affliction through the maladies with which he Is generally stricken by the excess oflabour demanded by his master . . . He suffers a fifth affliction, that of being despised and treated as a beggar because he lacks those necessaries which he consents to purchase by the anguish of repugnant labour. He suffers, finally, a sixth affliction, in that he will obtain neither advancement nor sufficient wages, and that to the vexation of present suffering is added the perspective of future suffering, and of being sent to the gallows should he demand that labour which he may lack tomorrow . . . labour, nevertheless, forms the delight of various creatures, such as beavers, bees, wasps, ants, which are entirely at liberty to prefer inertia: but God has provided them with a social mechanism which attracts to industry, and causes happiness to be found in industry. Why should he not have accorded us the same favour as these animals? What a difference between their industrial condition and ours! A Russian, an Algerian, work from fear of the lash or the bastinado; an Englishman, a Frenchman, from fear of the famine which stalks close to his poor household; the Greeks and the Romans, whose freedom has been vaunted to us, worked as slaves, and from fear of punishment, like the negroes in the colonies today. Associative labour, in order to exert a strong attraction upon people, will have to differ in every particular from the repulsive conditions which render it so odious in the existing state of things. It is necessary, in order that it become attractive, that associative labour fulfil the following seven conditions:

• That every labourer be a partner, remunerated by dividends and not by wages

• That every one, man, woman, or child, be remunerated in proportion to the three faculties, capital, labour, and talent.

• That the industrial sessions be varied about eight times a day, it being impossible to sustain enthusiasm longer than an hour and a half or two hours in the exercise of agricultural or manufacturing labour.

• That they be carried on by bands of friends, united spontaneously, interested and stimulated by very active rivalries.

• That the workshops and husbandry offer the labourer the allurements of elegance and cleanliness.

• That the division of labour be carried to the last degree, so that each sex and age may devote itself to duties that are suited to it.

• That in this distribution, each one, man, woman, or child, be In full enjoyment of the right to labour or the right to engage in such branch of labour as they may please to select, provided they give proof of integrity and ability.

• Finally, that, in this new order, people possess a guarantee of well-being, of a minimum sufficient for the present and the future, and that this guarantee free them from all uneasiness concerning themselves and their families . . .

I n order to attain happiness, it is necessary to introduce it into the labours which engage the greater part of our lives. Life is a long torment to one who pursues occupations without attraction. - 

http://www.historyguide.org/intellect/fourier.html


This brought to mind things Ken Robinson  said.

I AM NOT HERE TO WRITE, BUT TO BE MAD!

Robert Walser's handwriting

Lists of texts as untill this point

In both my research journal and my online blog I have acquired and attributed images and text from these sources;

'Cartographies of Time: A History of the Timeline' Daniel Rosenberg, Anthony Grafton


'Dreamers' 'Ted Hughes


'Slaughterhouse Five' Kurt Vonnegut


'Design as Art' Bruno Munari


'Who is There? Open the Door!' Bruno Munari


'Air Made Visible; A Visual Reader on Bruno Munari' Claude Lichtenstein, Alfredo Haberli


'The Circus In The Mist' Bruno Munari


'Underwater' Chester Brown


'The Analytical Language of John Wilkins' Jorge Luis Borges


'HERE' Richard McGuire


'A Manifesto for Performative Research' Brad Haseman


'On Illustration' Andrzej Klimowski


'Leviathan' Peter Blegvad

The Celestial Emporium of Benevolent Knowledge

WITHIN WHICH  animals are divided into:

• those that belong to the Emperor, 
• embalmed ones, 
• those that are trained, 
• suckling pigs, 
• mermaids, 
• fabulous ones, 
• stray dogs, 
• those included in the present classification, 
• those that tremble as if they were mad, 
• innumerable ones, 
• those drawn with a very fine camelhair brush, 
• others, 
• those that have just broken a flower vase, 
• those that from a long way off look like flies.

From The Analytical Language of John Wilkins by Jorge Luis Borges

Charity

I donated this image and others to be projected on the outside of the Design Museum as per the wishes of this odd competition. It is a picture of what I know and feel of Christmas as of December the 1st. Maybe that's why its got two S's or maybe that's because I can't spell.

They didn't want it!

ANYWAY I have started reading Bruno Munari's book 'Design as Art'/ The book begins with the idea that most art historically was "commercial" art. : "art for art's sake" is a modern invention that doesn't match history. So from this Design is the art of our time ( Well that time the book was first published in 1966 ) this idea comes and that's where I'm at.

Here is some quotes;


'For years and years architects and designers all over the world have been designing thousands of chairs, upright chairs and armchairs, all different and all the fruit of infinite inventiveness. I have even designed two or three myself. But it seems that the problem has not yet been altogether solved, because architects and designers all over the world are still going on designing chairs, just as if all their efforts up till now had been wrong.'

'In one shop I see a brass boot, size 25 (approx.). ‘I’ll have a pair of those,’ I say. ‘We have only one, sir.’ ‘What can I do with one boot?’ ‘It is not a boot to wear on the foot, sir. It is a boot to keep umbrellas in,’ the assistant explains, smiling patiently as one would at a madman. I am greatly embarrassed by this gaffe, and leave the shop at once, nearly tripping over a marble cat decorated with floral reliefs and serving as a doorstop. I am beginning to learn.' 'These are certainly not objects produced by designers, for designers do not have such raging imaginations. They confine themselves to making candlesticks that look like candlesticks'

And finally...........


NOSTRADAMO 4) Bruno Munari PROJECTIONS WITH POLARIZED LIGHT 


'In the Home of the Future people will be able to keep a small box containing hundreds of ‘pictures’ for projection.'