Tag Archives: conceptual writing

A small (0.9) Earth-mass, very temperate (67 °F.) high-manganese rocky silicate planet with almost 1.3 times the expected density and gravity and a coreless silicate moon. It has a hydrosphere of chilled iron pentacarbonyl slush actively cycling with…

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And so we turn to science fiction and fantasy in an attempt to re-enchant the world. Children and childhood retain mystery, and so one tactic has been to take fairytales and rewrite them for adults and here we get the swords and sorcery of modern fantasy. Another strategy was to reinsert the speculative unknown into the very heart of scientific processes. But just because we have mined myth for magic—and, remember, even what we define as myth would have been called religion two millennia early —does not mean that this fills the same need for wonder elsewhere.

One of the standard tropes in SF/fantasy—particularly fantasy for a long time—has been the strange cult. And so, as much as being an examination of real religion, it was intended to be an affectionate investing in that trope of the weird fantastic cults. Rather than constructing a world that is subordinate to the exigencies of the plot or theme or whatever, you create a world and then you inhabit it with stories and characters. This is something that non–genre people mock quite a lot, but it is an absolutely extraordinary thing to do. It’s an extraordinary aesthetic project and it can do things in certain ways that other genres cannot.​


The paragraph that is printed on page 9 and reprinted on pages 10 thru 356 is not seen on pages 1 thru 8, and page 123

The argument of this novel is to establish that the front matter (pages 1-8) of the book does not include the primary text, a paragraph made of 17 sentences, which is printed on p.9 and subsequently reprinted on the pages referenced in the title, except page 123, where the paragraph is not seen.

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Is the neighborhood safe? The map (see example on the cover of the book) gives users a Gist of how dangerous it is in different parts of a city down to specific streets and blocks by using an intuitive color-coded scheme known as “heatmap.” Blocks with 0-30 incidents of crime per year are shown in green while the ones with 160 incidents or displayed as red…

The so-called “Dummy” or (filler or Placeholder) text is a modified edition of Dostoyevsky’s Crime and Punishment by utilizing Constance Garnett’s translation of ‘Part I’ as the base text. Dostoyevsky’s text is rearranged into verse paragraphs that form a rhetorical unit similar to that of a prose paragraph. The paragraphs that utilize the word ‘landlady’ are italicized, therefore, the “landlady” character in Dostoyevsky’s text is conceptually tied with the characters (whose names are also italicized) mentioned in the title; Ike, Benjy, and Darl (as created by William Faulkner for his novel The Sound and the Fury). The Faulkner quote (see title on the front cover) is a reference to his novel The Sound and the Fury. Faulkner readily acknowledged the difficulty of what he’d written and proposed using different-colored inks as a way to make Benjy’s section more accessible, with distinct shades assigned to its crisscrossed time-settings. Therefore, a “heatmap” (see the image on the front cover) is a graphical representation of data where the individual values contained in a matrix are represented as colors. Rainbow colormaps are often used, as humans can perceive more shades of color than they can of gray, and this would purportedly increase the amount of detail perceivable in the image. Therefore, the text of the header is composed of sentences printed in different colored inks. ​

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The story starts with the boy contemplating Father Flynn’s illness and impending death (see the sentence fragment that is printed on p.11). He is fascinated with interpreting signs and symbols, and their meaning (see the sentence fragment that is printed on p.27). Later, while the boy eats his dinner, his aunt, uncle, and old Cotter have a conversation in which the boy is informed that the priest has died (see the sentence fragment that is printed on p.34)…

(nine stories)

​The text is constructed by utilizing a nine sentence summary of James Joyce’s The Sisters and modifying the nine sentences into nine sentence fragments (see the “contents” page in the front matter). The pages (starting on p.8) that don’t have a fragment are intentionally left blank (except for the header). 

The famous red and blue dust jacket for Salinger’s Nine Stories was designed by Miriam Woods. The striking, unillustrated jacket resulted from the Salinger’s refusal to allow the publisher to depict the characters of any of the stories, in order to prevent readers from approaching the stories with preconceptions about the characters. The heart of each story is set to the beat of its characters – to unfussy accounts of the way in which they move through the world and interact with one another, to the cautious articulation of their understated feelings and nascent beliefs. This most often takes the form of a child in haphazard conversation with a newly encountered adult. His adults are characteristically broken by habit and suffering “the ruthless cruelty of conventional social judgments and behavior”, and this is a condition rendered all the more stark when positioned alongside the unassuming wisdom of the very young.
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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910)…

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”

They place his given-name (“Todd”) on pages 25 through 58. Then they place his middle names (“Earl”) on p.322 and (“Winkels”) on pages 356 through 411. Then they place his Catholic confirmation name (“Augustine”) on p.455…

The word ‘autobiography’ was first used deprecatingly by William Taylor in 1797 in the English periodical the Monthly Review, when he suggested the word as a hybrid but condemned it as ‘pedantic’; but its next recorded use was in its present sense by Robert Southey in 1809. The form of autobiography however goes back to antiquity. Biographers generally rely on a wide variety of documents and viewpoints; an autobiography, however, may be based entirely on the writer’s memory. 
Autobiographical works are by nature subjective. The inability — or unwillingness — of the author to accurately recall memories has in certain cases resulted in misleading or incorrect information. Some sociologists and psychologists have noted that autobiography offers the author the ability to recreate history.
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Conceptual Writing As Fanfic


“Conceptual art is a big, complex category, but Alexander Alberro usefully describes it in terms of four major “trajectories”: a deemphasizing of the importance of the artist’s technical skill and the cohesiveness of the final product; an increasing emphasis on the importance of text over images; a shift away from the aesthetically pleasing toward the conveyance of that odd modern invention we call information; and a questioning of how art is “supposed” to be framed, and the notion that there is a “correct” context (like a gallery) in which people are supposed to encounter it (pp. xvi, xvii ). Conceptual writing follows these trajectories because, with a few exceptions, they had been largely ignored by literary writers.”