WORK: theory

On Dicework I, 2008/05/12: The Role of Lawmaking in the Subversion of Chance

There are currently two types of rulesets: primary rulesets and meta-rulesets. Primary rulesets list instructions for the creation of a dicework. Normally only one ruleset will contribute to a specific dicework. Meta-rulesets introduce additional rules that adjust, modify, and/or negate one or more of the dictates present within a primary ruleset. Meta-rulesets undermine the authority of the dice in that the numerical result of a roll might demand a certain command listed in a primary ruleset to be carried out; however, a decree from a meta-ruleset will alter or nullify that command so that it cannot be executed. Certain exceptions appear in meta-rulesets that defer the meta-ruleset to various clauses present in primary rulesets. Occasionally primary rulesets may be written in such a way as to exert influence upon meta-rulesets. But if meta-rulesets are an attempt to sabotage the accidental will of the dice, they remain nothing more than a list of potential options. Ultimately the dice decide how the meta-rulesets will exert their influence. A balance of power is maintained between the deliberate and the accident. I am unable to act without the say-so of the dice, while the dice are unable to enforce without my contribution of actionable options.

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On Dicework II, 2011/02/11

Dicework II was in development between late 2008 and early 2009, but was never completed. None of the rulesets were ever used to produce any work.

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On Excerpts, 2010/12/24

Excerpts is an ongoing series of mostly drawings that are presented alongside titles, but these titles are in fact little bits of larger narratives. Some of the titles are not little, and instead span a paragraph or two. The words do not directly describe the pictures, nor do the pictures strictly illustrate the words; however, this is not to say that the visual and textual elements are wholly divorced from one another. Excerpts considers the processes of drawing (or painting) and writing to be absolutely analogous. Both possess the same active struggle from conception towards definition, as well as feature the same types of editing and restructuring utilised in the effort to achieve a condition of finish. At its most obvious, the narrative could sometimes be interpreted as explicating the procedure by which an image came to be. In other pairings, the endeavour by which a prose passage was composed is defined by the image. But more significantly, there is an overarching redefinition of how these two formally and conceptually disparate components relate to each other. Image is accompanied by – and synonymous to – text, and therefore text is always accompanied by – and synonymous to – image. It is logical then that text is always accompanied by text and image is always accompanied by image, despite appearances (at times text is literally accompanied by text, but might as well be image accompanied by image). The aim is to continue to work through this relationship between congruent and laborious pictorial and literary processes, as it offers the potential for a viably prolonged and dynamic practice within its simple framework.

2010. Ink on paper. 5 x 10 in.“‘Oh no,’ Gregory begrudgingly says as he snoops over Tadeusz’s shoulder, ‘now we’ll have to follow through with this.'”

2010. Ink on paper. 5 x 10 in.

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