Informal Theory on Modulative Retrosynthesis and Hypernormalisation half and accentuary by ARP
dedicated to Feyen D'Evie and Andres Vaccari (re: el tono)
multidialecticism of the voice and tone. first we have the cultivated which is a gambit for crypto-resistance transformation of an organisational assemblage e.g. work place, place of education, hospital, online and other forms of external organisation. the transformational complex gambit is a vector to affect the impositions of above mentioned assemblages. multidialecticism is usually part of the linguistically diverse area of the community. We could include other diversities and any compounds as such as super diversity. a tonal politics that may converge historically and as liminal portmanteau to atonal much like the aesthetics appreciated by Frankfurt School. I just like jazz as well.
From that we have a seamless orthogonal curve through the liminal to the aesthetically contrastive if not contradictory and thus surprising due to sublatory seamlessness with the imperceptible being a broader topology of engagement with prior mentioned assemblages. let's swap dissonance in highly differentiated aesthetics. the artist gets around. the drive to verticalise the prior states of drift in economic squeeze including dietary is a subject reposturalisation predicated by systemic norms of class mobility via gentrification in urban areas beyond the income bracket of subject.
To keep the somatic equilibria in a stable waveform but economically squeezed is the asymptote of integration, individuation (heuristic: dividuation) hereby know as eelbeing. next vertiginous combinatoric catachresis is vealbeing. give me a home where the buffalo roam and where the eel and the antelope play for the common veal offal.
As per flow and posited verbal aura then the background accentuation body and or array are sublimated to median planes of typical bell curve notwithstanding strange distribution and other distributors statistical frameworks. the middle voice to be distinct from the poetic term and more indicative of class and national identifiability gives social acceptability from the general public and if not watch it kiddo. As well as differentiated from the technical tone hear as performative and more wave flow the middle voice is cognitively aligned with linear assemblages such as public transport, timetables, mobile devices, stairs, elevators.
the third voice being language of country of origin etc is at diminished use. as such any accentuation of hispanism has been historically linked to spanglish and translinguistic allusion that the relevant would resonate with. As well historical figures well known from the hispanic or latin american - caribbean are background as vector or popular leverage. the historical scope is not well known to me but in hypernormalised multidialecticism those who write well in second language may choose a tone referring to political allegiance and values. e.g. simon bolivar, jose marti
and as gambit and familial regatherings of a diaspora the acquisition of third language becomes aim and high aspiration. in respect to the subjectivation we may call this as well a struggle session and the vertical nature of austerity and discipline may result in orthogonal spin. as writer of this small tract any linearity in terms of cartesian coordination maybe collapsed or vanished. liminality and i posit superliminality as per my work is a process that via writing makes linearity an exosphere where the line is not only semipermeable but imperceptible, vanished. the line is though assemblage of the built environment. the complement to nonlinear occurs through time and memory and retrosynthesis of the interioceptive to some neuromodulative reformat of the array to an ergodic plasticity that phenomenologically can be said to have the mind of a 25 year old or as artist Violeta Parra wrote "volver a los 17"
the retrosynthetic interioceptive modulation may be described as a formative temporal synaesthetic capacity and neuromuscular striation as embodiment of historically categorised and described in prose florid psychosis. Form Constant frames hallucinations and we posit, X* stage psychosis, as constant forms close topologically complex forms. have a fractal flower surface/deep (re: Artistic Sciences cover) and multidisciplinary constants are described as emerging forms of vitality. Though I prefer any vitalist term to be more formed in temporal synaesthetics as a sensory ethnography. poet become whatever
exosphere postulate differentiate to bathophobia fear of limen e.g. vertigo and cliff edge conics. heuristic: chronosophy etc plus psychology, temporal synaesthesia including calendric and interceptive
