discursive moments

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“Discursive moments” is done (for this winter—come spring).
The subtitle probably seems precious: “…: mind evolving.”
Think of ‘moments’ as “importances” and ‘mind’ as verbal “care.”

Play is the thing of course

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I’ve divided the very conceptual “philological play” Area of The Project into a 4-section first part, “Play is the thing of course: from ‘-ology’ to philogeny,” which prefaces the 4-section main part of “philological play.”

Altogether, it’s happily quite long—major work (for me).

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“genius”

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It’s a good-spirited (eudaimonic) mystery.

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for a good story of a “worthwhile” life

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Generalities, generalities… That can be good, if the terms are durable, for a life that’s always growing up, achieving lots, paying forward, moving on.

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“The” past is never finally written

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“The” past is made to serve future-oriented living. The past didn’t create the world. One’s always rewriting one’s past.

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turn of the year and a plight of inspired writing

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The short story is that I have a lot of new material online (links upcoming). The long story is that writing process can get as tedious as this posting.

Late December, I began a set of short paragraphs to provide a good sense of what each Area of Cycle 4 of The Project is to be about. I suceeded, but “short” (e.g., “wholly flourshing”) led to much longer, preface after preface (e.g., “creative conceptuality”). This began to cause feeling need to do postings later this month that would preface what I wanted to presume for my Area prefaces now, but hadn’t introduced. So, that caused me to more or less stop earlier than I’d intended, until I get the postings done.

saturdaynote

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Conceptual work is going well, but I don’t have anything to say about it now.

I streamed “Things To Come” (“L’avenir,” 2016), starring Isabelle Huppert. I’d seen it in a theater when it first came to town, but I needed it again. And I got infatuated with its everydayness (so French, you know—having the legacy of Cinéma vérité).

So affirming is Nathalie’s authenticity amid so much pretentiousness around her—going with the flow amid personal chaos, having serenity about endings, beginnings, loss, and renewal—being her ownmost unchained melody of life.

a conception of The Project

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a postcard on conceptual mountaineering.

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soliloquy to J. D. Salinger

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Related notes from recent years that became outtakes while doing
the Web set, “love of being better” (introduced below, Web link
at the end there), were sequenced into a singular thing.

The set, from 2015—2018, makes a confessional prelude to “…being better,” which is a preface to upcoming stuff.

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love of better being

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Keywords of our lives may be so overwrought, they mean little anymore—or merely serve specific contexts, having that—but no more singular integrity than scale and horizon of a life has singular definability.

The poets who keep it simple implicitly appeal to us to feel truly
each point that’s here.

saturdaynotes, 9/29—12/8

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I’ve begun actually writing the new cycle of web work for cohering.net. But I’m in the middle of merely-prefacial narrative that I don’t want to upload until I write myself out of that, by the middle of next week, I expect (as I am actively progressing, section by section, day by day).

extraterrestrial love in hiding

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I’ve posted lots of astrobiological reveries recently, via my Disqus account (only during the past month), which show at the Daily Galaxy articles that I’m commenting on. I want to transfer those as independent postings at the blog where I posted a long reverie today.

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“I am my art,” where doing art is necessary to being

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Last night, I was spellbound by the new American Masters documentary on Eva Hesse. I stared at the screen for the entire 1.5 hours as if I was meeting the sister I wasn’t told I had. Her joy, fearlessness, devotion to living her artistry, and obsession with the uncanniness, the ephemerality of being, was awing.

saturdaynotes, 9/29—12/8

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I’m too occupied to do an update beyond the August 4 g.com update. Sorry.

But that update links to a new posting on Habermas.

In the future, I’m going to note all new cohering.net-related material at Twitter, as well as here. That includes blog postings elsewhere that I also indicate here. Separately, I’m going to note all new gedavis.com-related material at my other Twitter account.

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interview silences troped with some confession

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In a filmic sense, my social life is largely voiceover.

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wayfaring

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Saturday, I vowed to no longer spotlight that my birthday is Bloomsday, though I violate my vow this one time, to publicly seal it.

And I realized that I’m so immersed in gestations that I had, I have nothing more to say soon, publicly.

Writing, creativity offline is so lovely, why say more than what is,
in effect, letters to a muse?

So, for now, there’s my recent update at g.com, and I schedule another date with you here—far away, because gestation is that way, even with a due date.

But you know you can trust me to return.

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sundaynote

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May 26: “...I’ll do something non-trivial.”
Done: the May 27 posting below: “intimations.”

I reneged on my June 2 promise to do a substantive update at g.com.
“I’m doing intensive work. I don’t want to explain.” Ditto here.

But I never know in advance when I’ll feel like sharing something before the next promised update.

intimations

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When I set out to plan for Cycle 4 of cohering.net, February 15, I linked to a placeholder page that was to be developed, which I’ve now done.

I kept its earlier beginning, but added text that has been removed from the “sense of site” page at gedavis.com; added some new notes; and copied into the page some quotes that remain at the current version of “sense of site.”

This may be boring news, but what’s been acted out is a modest withdrawal of myself (this life) from g.com (that world)—having earlier there been too self possessed for what that site is supposed to become.

But I have no general problem with self possession.

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feeling for story: dramatic appeal (value) in emotional novelty

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This is § b of “Section 3: Fake views exploit the appeal of valid drama.”

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Why is a chid enchanted by fabulous prospects? Childlike appeal of fabulism (i.e., proffering fables) echoes fantastic cultural stories, once upon a time guided by mythologies that conceptualized worldviews which gave telic cohering and comfort to cycles of life. Such appeal in that kind of narrative echoes in “true” feeling of fictionality and in romanticism (widely conceived, including every mode of safe thrill). A tropological “realism” constitutes dramatic life.

story as scaffold of uncapturable life

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Narrative can be invitation to imagination, such that the more minimal it is, the more gracious toward reader imaginability the line is.

“This is my confession,” as if narrativity in quote marks is distanced pretense without commitment to authorial candor. Characted confession may cloak a candor that thereby escapes others’ want of elaboration, as if her or his innerwordliness has no more to share beyond a brevity of time passing too quickly, which the story shows.