A short chapter from my forthcoming NOVEL: OUR HISTORYS BACK – in which the tribetable components for constructing the novels novel dialogue are being described. — FLY.
“every external phenomena is like a dream, like a vision, like a bubble, like shadow, like dew, like lightning, and should be regarded as such’ –From the Diamond Sutra.
(Overhead shot of Amsterdam looking like a bright circuit from 1000 meters above at midnight).
(Zoom down into the house through the front door and back into the Garage area.)
The small garage at the back of Mike’s apartment provided ample space for the intrepid group’s first tribetable working. The double garage was spacious enough for at leas three vehicles and seemingly square. In roughly the centre of the garage floorspace a handcrafted – Silver Birch Table – stood on a mustard colored rug decorated with dymaxion maps, star charts, occult symbols, Chinese landscapes and differential equations – all designed and screen-printed by the now legendary Esther Trippleknit.
The four legs of the altable are each individual tribetable Totems. Each leg consisting of figure heads and exotic self-regenerative designs, stacked upon each other forming correspondence with the other three legs when seen from different hights and angles. The wax disks consist of 2 sides of information pressed and sealed for a particular Tribetable working – in this case the hero’s of ourstory – back to back: Disk 1.A-side: Giles Chase. B-side: R. Jacky Muller. Disk 2. A-Side: Ira Pod. B-Side: Carson Wools. Disk 3. A-side: Cutler Bates. B-side: Manfred Humanski. Disk 4. A-side: James Shermon. B-side: Sonny Bob.
Each disk has condensed audio/visual information relating to the specific character and their inter-relations with the storyline so far. Their individual methods, drives, styles, forces and particular historical passages into the present. The wax disks can be manipulated by the hands, feet, tongue or elbow of the MPHDJ operator. Steering the stylus needle to intersecting points producing conversational fragments and bits of communication.
Spin back function and/or a freewheeling release of the disk results in a given sound bite or – map coordinate – to be interpreted by the operator. A total dimensional shift would be possible under these cirumstances by lifting the stylus-sword completely off and out of the groove, and then moving it along to the next track.
The method of cutting and live editing on-the-fly, with character dialogue disk’s is under daily modification and requires a particular preparation and tedious disciplinary exercises. See the MPHDJ method as presented in MAYBE magazine. An efficient way to analyze a sentence or sequence of words in a novel way, opening the gates of perception to new arrangements and semiotic experiments.
The table top design was also a John Disk/Esther Trippleknit piece, crafted from bio-organic components (wood) to perfectly intersect with the operators tribetable tools. Roughly the size of a squared pool table.
The first major tools used are the Picture-Disks that consist of 4 double sided 11 inch wax sigils, each placed upon the four corners of the table in their corresponding elemental positions, while the keystone disk sits in the middle like a panopticon.
The second tool used is the Brush Microphone Wand BMW which functions as a multipurpose – rod shaped object – made up of different species of wood lamenated together. The wand has a tiny microphone speaker embedded within the tip and Ostrich hairs held in the opposite end which can be used for applying various textured and colored media. To anything at the table.
The third tool is an elaborately carved diamond tipped Toad-Fly stylus sword, the diamond tipped stylus needle is held by a silver cast fruit fly, which in turn is held in place by the tongue of a Gold cast Toad, the toad serves the function of the traditional stylus cartridge, the fly’s proboscis is the needle.
The fourth of the major Tribetable tools are the speaker drum cups. These fit into the table at critical nodes to process, amplify, translate, and mirror the signals they receive and transmit. Together, these tools and their correspondences within the historical tale, present a new-structure for the Novel to unfathom for itelf in the later editing and re-arrangement processes.
The Tribetable itself becomes a fifth element. The center piece of the research tabaltar, which all the other tools plug into in various ways at various moments modifying their function in imaginative ways. The Turntable is not at first glance so dissimilar to a popular DJ turntable, but as with many of the newer bio-organic objects processing in 2012, the Plush Tribetable does more than merely meets the eye. Beneath the material realm of mechanical and electromagnetic components an assortment of biological chlorophyll projectors, liquid crystal coasted spores and lucerferin filled micro-droppers work together to read and write information from the various symbol systems rotated upon the platform beneath the plank scale.
Millions of Delicate and tiny photons are dispersed from the rim of the rotating platter – star-bits – that the diamond tipped styli make analogous cuttings of, based upon their astrological coordinates. All hiding beneath the range of natural human vision.
The various maps, charts, and symbols systems from each of the major historical characters fit onto the platter area for the operator to manipulate, modulate, amplify, set into phase, make stereo and/or quadraphonic sound, cut-up again, juggle, scribble, rewind, juggle, scratch etc.
The spirit of the turntable rotates around revolutions, per decade, per minute, each micro void cycle. Combined with the Microphone, Disks, Stylus, Speakers MDSS, the five become the functional and practical tools for the OHB work in progress taking shape in Mike’s garage.