I've been kinda busy with a number of things in the past few days. My bitch just littered, my uncle went into Hospice, two ladies at my church just died, I've got an article due on our last Cyberwarfare exercise, helping decorate the church, etc. So I don't wanna just flash by and make a very lackluster and basically useless responses to any of the questions I've been asked or the ideas being discussed. Cause I consider them interesting and important. But I'm tied up right now and so I'll have to make better responses later.
Plus I've been researching the subject(s) of Byzantine monasteries, hermits, Saints, Warrior-Saints, and so forth to give the best and most accurate responses I can. So just bear with me and I'll respond fully about that as soon as I can. By the way I've recently been reading an excellent book on Byzantine History by Lars Brownworth called
Lost to the West. I highly recommend it. He has a podcast called "
12 Byzantine Rulers" which I hear is excellent.
12 Byzantine Rulers, or
here.
Gall, I'm also gonna examine those articles when I get the chance.
Concerning the Glyphs and whatnot I've conducted an experiment the past few nights since I've had to be awake during those entire times anyways.
Last night I wrote a poem based on some coding experiments I've been conducting on a principle I call
Philopoetic Impressionism. It's based on an idea concerning poetic contrapuntal formulations, with sometimes simultaneous harmonic overlays. Within the phrasing of individual lines there are subscripted and superscripted terms which change the meaning and definition of individual terms, sections, and the entire poem itself. (The poem itself is 232 words including the sub and superscripted terms.)
It's part of a series of poems I've written based on a code I developed years ago, but it is also part of an on-going experiment I'm conducting regarding developing a Notational System for poetry that would be similar to Western Musical Notation systems for music. (Presentation for poetry as a musical system would be part of the overall "code" in changing or encoding the poetry. Similar to the way ancient Greek functioned as a sing-song language, rather than one based merely upon pitch or inflection, but the poetry form could act as both language and music simultaneously. This then would be part of a much larger system of "Environmental Encoding," based upon written and spoken human language forms.)
Anyway the experiment came off pretty well as both a stand-alone linguistic and poetic effort, and in giving me ideas for and helping me develop a Musical Notation form for poetry. Only in this case it will be much looser than typical musical notation because it will allow the reader to much more flexibly interpret how he chooses to read the work. (And it won't be based upon artificial stress spatters and so forth as are typical for analysis of poetic stanzas and verse forms.) I'm not gonna post the poem here because I've got several buddies of mine in Intel examining the code-structure and next week I'm gonna submit it for magazine publication, but without an explanation of what it really is. Instead I'm just gonna submit it as a poem and see if anyone in the public notices any oddities in form and structure and concludes it is in fact a code. If no-one in the general public does then that will demonstrate to me that the code is well disguised in what to most people would appear as an odd, but otherwise "normal poem." (It will also be odd among modern poems in that it contains several forms of both internal and end point rhyme, including archaic forms, but that's a different matter, and a personal gripe I have with most modern and free form poetic structures. Though free-form structures can sometimes serve as good frameworks for good and hard to detect code emplacement.)
Anywho I also produced another version of the same poem but this time written in Glyphs (a gypping form I developed myself some time ago). So now through this experiment I know that it is quite possible to produce poetry which is both functional (and which makes a facade presentation of normal poetry), to encode it "impressionally," and to produce a glyphed form of the same work which contains covertly encoded within it the other two framework structures. I haven't yet calculated the exact mathematical variations of possible meaning forms this will allow me to produce, but it should be rather formidable for a tertiaarily-tiered structure, because I can alter meaning within any of the three base structures at any point by adding what in effect will be dynamic and expressive and pitch and tempo notations, etc. In that case it may allow me practically infinite varieties of ad hoc meaning fluxions or fluctuations.
I guess that's neither here nor there but this series of experiments have allowed me to make considerable progress on both my poetic and gypping encoding systems and has given me a number of ideas on how to employ both in both the real world and in gaming situations. As well as some ideas of how to produce Simulation scenarios and exercises using these same principles.
Well, I didn't mean to yak about that so much.
It's time for me to hit the hay and we can discuss this and other matters later.
Next time I'm also gonna be returning to the idea of Byzantine and Warrior monks.
It may be a few days though. I got church tomorrow and need to rest, and I got a Senior Members Officer's meeting at my squadron on Monday. But I'll hit it as soon as I can.
Night all.
