T-Shirt Skeletons: Rags to Rags video as complex framing system

Those of you who have followed the progress of the Lexicon 97 Project (now up, in an unfinished way which is the status the project should maintain until an end of any possible way on any scale in any location that any iteration of the project may exist; the configuration of tines of the project are subject to reconfiguration at any moment in any location on any scale for any duration of time);

those of you who have followed the progress of lex97 may be aware that the T-Shirt skeletons themselves were an unintended project tine whose existence became apparent only after the cutting of the 97 shirts to mine them for the only words that would form the project's lexicon was underway.

Because the lexicon was extracted in such a way that the 97 previously discarded shirts retained a basic t-shirt structure and were wearable, locations of extraction became frames for the absence itself or for any substitute content. This absence became quite intriguing, and the mined shirts avoided another disposal through reconfiguration of their contribution as collaborators, in form of upgrade to T-Shirt skeletons that many of you modeled, in headless fashion of course.

Because the initial idea was flexibly framed, that pliable (of a putty related to the taffy served up by The Mid-Hudson Taffy Company) framing system could be easily configured in any form that becomes necessary, so any particular form is treated as a temporary form though being temporary does not mean the configuration does not become part of the frame's identity (on some scale), information infiltrating, on some scale (could be super-diluted) the internal structure of the frame, on the level of frame genetics (which becomes, as outcome of this infiltration —mild or profound— a mutation, a reconfiguration of evolution).

THOSE T-SHIRT SKELETONS ARE THE BOMB!

—Think of as many configurations as you can to frame meanings and implications of that statement, and then extend the boundaries of that frame system of configurable meaning systems to include implications of the lexicon 97 project and circumstances related to the existence systems of t-shirts.

BUT SUCH CONSIDERATIONS DO NOT PREVENT THE T-SHIRT SKELETONS FROM BEING CONFIGURED AS EXQUISITE AND DESERVING OF BEING FEATURED IN THE SLUSSER GALLERY SHOW WITH A RAGS-TO-RAGS FASHION SHOW (captured and put on youtube to give back to the world, the world that is involved and entangled in all facets [all possible t-shirt system & subsystem framing systems] of t-shirt existence, including the materiality of t-shirts, the fiber of which they're made, their complex substance):

Please listen to Are My Hands Clean (the story of a blouse) 
as performed by Sweet Honey in the Rock  
(Lyrics and music by Bernice Johnson Reagon. Songtalk Publishing Co. 1985)

and let the song have a chance to mingle with some aspect of your frame of thought (possibly tweaking its configuration here and there, if but for a brief moment) before going on to see the T-Shirt Skeletons: Rags to Rags video again or for a first time. Thanks.

  

Buy Are My Hands Clean, live at Carnegie Hall
at Amazon  or at iTunes

Are My Hands Clean  (lyrics)

SOME JOY OF BOUNDARIES (a limited fork theory attempt at celebration)

how else to focus? to mean something by point of view?

Many stories of boundary systems are also stories, at some point,
of deterioration of some aspect(s) on some scale(s) in some location(s)
of that system. Many boundary systems have holes in them, or develop holes, gaps,
(sometimes as an outcome of an interaction with other systems framing information
which includes experience, or holes
can be poked in them (forced framed, or forced rescue framing)
at microscopic or much larger levels.

Perhaps the boundary systems shifts a bit, is recalibrated
by willful and/or involuntary events (temporarily) converging
on some scale[s] in some location[s].

Maybe that infamous butterfly wing flutters.

The fluttering itself may seem soundless to those whose ears cannot experience
(for a number of reasons,including boundaries of human range of hearing)
those vibrations as sound, but that movement, those vibrations are a song
(not limited to the song in the following moving picture):


Next, some impact fluttering, the splash-effect embrace as some interior surface migrates to exterior surface, some components of the splash becoming limited-distance, limited-range projectiles upon impact with another projectile traveling at least about 3,000 feet per second



Should these impacts be framed with beauty? Wondrous? exposure of what such speed usually withholds from human vision, aesthetic appreciation —some speed-masked dance, well-mapped
until the end when the music stops. If we could se this all the time, gracefully explosive impacts, would we arrange for more?




Sometimes boundaries may seem cruel, inhumane, may apparently
impede humanity's progress in any number of humanity's sometimes conflicting
quests for what might improve humanity from the point of view system of those
seeking particular forms of change.


Details we we get them: a system of framing and reframing


A temporarily better framing system may come along.

The scene may be renovated, cosmetics applied that may greatly affect
only aspects of the scene's surface system —what are the limits of surface?
Maybe before proceeding to what some consider depth, more time should be spent
with surface systems, including magnified time so as to see/hear/experience

more of the surface system.

A Nine-Year-Old Girl from Tuscon framed two ways
(measured by different systems of consider, different increments of meaning
[—watch for framing systems within framing systems]):