ROOM 2057: A MAP OF STUDIO TIME TINE

Time Mapping mapped some of time as a cohort in Room 2057 in the Art and Architecture building on this map.

Floorplan of the 2nd floor of the Art and Architecture building:


A digital atlas of Maps in room 2057 in the Art and Architecture building at the time that Limited Forked Time Mapping and Environmental Collaboration took up Wednesday night occupancy:





The Inaugural Limited Forked Time Mapping and Environmental Collaboration lecture was mapped on one side of a double-sided chalkboard, parallel information environments, that as a consequence of their useful flatness, do not have direct outer-surface-to-outer-surface contact, outer surfaces (that permit interaction with chalk residue of the past that is written on even when the information is entirely contemporary, rooted in the present with assignments for the future:





Upon closer inspection for more detailed mapping (stopping short of the hyper-fractal endless coastline [that is one form of extension of one part of one one tine of a limited fork]); upon closer inspection, some history of future evolution of pencil and paint was identified, and is offered in this digital atlas of some 2057 history of future evolution of pencil and paint:

On 17 February, 2057 continued unfolding a bounty of maps, again with chalkboard cartography, this time in the form of a Porcine Messenger quite reminiscent of a round plush pig in my personal collection. I was delighted to find a chalk pig, a chalk outline of pig. I was grateful to the artist, not that I could not have drawn a pig; I have in fact drawn pigs before, and it's the success I had in producing quite a realistic-looking pig that has caused me not to draw. In my drawing, there's no forking whatsoever. Perhaps because my drawing when I was twelve was response to Draw Me ad in magazines and newspapers from a distance-learning art illustration school, hard copy assignments and teacher evaluations exchanged by USPS and Parcel Post in that pre-digital time of my preoccupation with drawing oranges that had an illusion of weight. Perhaps if I'd actually scored the paper with a fork's multi-tined interface, making multiple lines whenever with a single-graphite-tined pencil, I made but; perhaps if I'd drawn right through, not just on a single surface of a multi-surfaced sheet, with a fork's multi-tine force, something else would have been made, and not the drawing offered here of Kinsa Pig, so realistic, more visually porcine to me than a processed slab of bacon, that I had to name the drawing many years ago. I did in fact reproduce that female head that a representative from the Art School came to my home and found his target was a child so left and promised to return in six years, but he didn't I'm saying although I don;t know for sure becuse six years later, I was no longer at the address where the art school salesman had met me, pencil in hand, drawing a pet pig for the woman who had only a head —I had no interest in supplying her with a body having decided all she lacked was a pig.

So the chalkboard outline of pig was a treat for me; a chalkboard outline in a studio practice room in an art school. In gratitude, I left a note on the chalkboard near the pig, thanking the artist for the gift: Thanks for the Pig, I wrote —after photographing my hand holding chalk right on a curve of chalk pig, as if Id drawn it. In a week, I returned to 2057 in the late afternoon of gold-studded light angle after visiting the Limited Fork Theory Time Mapping Environmental Collaboration Installation Aesthetic Experiment (LFTTMECIAE) site, and heard this:


because the Pig Artist was in the studio, and, a recap of what you may just listened to, this chalk pig was not her first pig, but the response I left was the first response, first in some system of configuration obviously published or intercepted response, I should say, because there is usually response or interaction; that is to say that there is occurrence on some scale in some location for some duration of time. Locations hosting pigs also host other events on some scale for some duration of time, events that may interact with the pig drawing in some way on some scale, etc. Collaborative ventures seem to be the general foundation (on some scale in some location for some duration of time) of behavior systems. A pervasive generalized fundamental connectedness. My pig gratitude extended multiple configurations of multiple systems, and is still doing that in this post.

Of course the chalk pig was erased. Most configurations are temporary. Had I not documented the chalk pig; had I not mapped the map of pig, then that information would not be available to participate (interact, collaborate) in configurations of meaning. Further Documentation of the Pig was accomplished with several geo-tagging iPhone applications. Much of the content of that extended documentation will be posted here later. For now, an Atlas of Chalk Pig 2057 in the Art & Architecture Building: