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This neurological phenomenon is the story behind Frank's choosing of the title 'Channel Orange' for his debut album. To Frank Ocean, the colour orange relates to the summer he first fell in love, according to Wikipedia.
An alphabet is a standardized set of letters—basic written symbols or graphemes—each of which roughly represents a phoneme in a spoken language, either as it exists now or as it was in the past. There are other systems, such as logographies, in which each character represents a word, morpheme, or semantic unit, and syllabaries, in which each character represents a syllable.
What language is this? I have never seen graphemes such as this before.
Hemp paper, frankincense, dried pomegranate juice, lavender, gum mastic, verbena, fennel, star anise, and Dittany of Crete.
Canadian? LITERARY? Theory?.
edited by Barbara Godard. London, spring 1992.
5-1/2 x 8-11/16, 6o sheets ivory zephyr antique laid perfectbound in pink mayfair card wrappers, all except inside covers & 3 pp (4, 115, 119) printed offset, black ineriors in cherry covers.
cover unacknowledgd.
11 contributors ID'd:
Christian Bök, Barbara Godard, Jennifer Henderson, Adeena Karasick, Steve McCaffery, Lianne Moyes, bpNichol, Toronto Research Group, Darren Wershler-Henry, Marilyn Westlake, Robert Rawdon Wilson.
Nichol inclusion:
i) FICTIVE FUNNIES, by Toronto Research Group [Steve McCaffery/bpNichol] (p.8o, as illus.to () below)
also includes:
ii) Candian? Literary? Theory?, by Barbara Godard (pp.5-7; prose essay with quote relevant to Nichol from
–1. Adeena Karasick, "When TRG poses that reading, a 'realignment of (pre-existent) topographies'" (including quote from
––a. Toronto Research Group, The Precise Gift)
–2. ___ "Through research in narrative..." ((iii2a) below))
iii) Tract Marks: Echoes and Traces in the Toronto Research Group, by Adeena Karasick (pp.76-89; prose essay in - parts & 2 appendices:
–o. "The Toronto Research Group (TRG), established in 1972, exists as bpNichol and" (p.76)
–1. Translation (pp.76-78; with quote from
––a. Toronto Research Group, Interlude: Heavy Company)...
iv) [untitled photograph], by Marilyn Westlake (p.77; portrait of Nichol, from behind used as the rear cover of the 1st edition of the martyrology book 6 books)
...[Karasick cont...
–2. Narrative (pp.78-87; in 3 parts:
––a. "Through research on narrative, TRG stages a distinction between poetry and (pp.78-83; includes (i) above among extensive quoting from
–––1. bpNichol, "by now we all realize that you can't really get way from narrative" (p.78)
–––2. ____ "rap traps" (line 16 misquoted)
–––3. ____ the martyrology book 4 (line 177, p.82)
–––4. TRG, from Tom Mot's 1st notebook (p.79)
–––5. ____ Running on the Rod to Reading (pp.78, 81 (x3, of which 2 are misquoted)
–––6. ____ "As a macrosyntactic unit all literature" (p.79)
–––7. ____Backgrounds (p.79)
–––8. ____ Tom Mot & The Syntaxicabs Of Paginated Space (p.79))
–––9. ____ A Page Is A Page Is A Page (p.81)
–––1o. ____ Twenty One Facts That Could Alter Your Life (p.81)
–––11. ____ Notes From The Interface (p.83 (x2))
–––12. ____ Interlude: Heavy Company (p.83)
–––13. ____ An Introduction (to R.Murray Schafer, p.83)
–––14. ____ Introduction (to Canadian ''Patphysics, p.83)
& the following unlocated quotes:
–––15. "quest for the story" (p.78, TRG?)
–––16. "single letters in themslves ha[ve] symbologies, ha[ve] contexts" (cited as "(AP 39)" by Nichol, p.79)
–––17. "a reading of words" (p.82)
–––18. "an experiencing of graphemes" (p.82)
–––19. "metanarrative process" p.82)
–––2o. "break it up,smash it into pieces and begin again with the scattered liberated letters" (cited s "(O/P43)" by Nichol))
––b. "Through extensive research, conversation and writing, McCaffery and Nichol" (pp.83-85; with relevant quotes from
–––1. Brian Henderson, Radical Poetics: Dada, bpNichol, and the Horsemen (p.84)
–––2. bpNichol, the martyrology book 4 (p.83, line 125 paraquoted)
–––3. TRG, Notes from the Interface (p.84)
& the following unlocated quotes:
–––4. "myth is mouth" (p.83, TRG?)
–––5. "history is what we say" (p.83, TRG?)
–––6. "grounded in the presence of the body" (p.84, McCaffery?)
–––7. "mystical and healing properties of the word" (p.84, TRG?)
–––8. "metanarrative process" (p.84, TRG))
––c. "When TRG poses that reading, a 'realignment of (pre-existent) topographies'" (pp.85-87; with quotes from
–––1. TRG, The Precise Gift (p.85)
–––2. ____ "As a macrosyntatic unit..." (p.85, misquoted)
–––3. ____ Interlude: Hevy Company (p.86 (x3) & p.87/footnote 1)
–––4. bpNichol, the martyrology book 4 (p.87, paraquote line 125, misquote line 1211)
–––5. Stephen Scobie "Writing about Nietzsche, Derrida sums up what is involved in" (p.86 on Nichol)
& the following unlocated quotes:
–––6. "minimal idealization" (p.86, TRG?)
–––7. "voice which is not one" (p.86, TRG?)
–––8. "smash letters part" (p.86, Nichol?)
–––9. "chain of non synonymous substitutions" (p.86, TRG?)
–––1o. "there can occur a split in his intent which leads to superimposition as opposed to solution" (p.86, TRG?))
––d. Notes (p.87)
––e. Texts Cited (pp.87-89)))
iv) Nor the Fun Tension: Steve McCaffery and his Critical 'Paradoxy', by Christian Bök (pp.9o-1o3; prose essay in 4 parts & notes with references to Nichol in parts
–2. doxa (pp.9o-96; passing reference to Nichol/the martyrology p.91)
–3. paradoxa (pp.96-1o1; passing reference to Nichol p.99))
v) Can/Con?, by Barbara Godard (pp.1o4-1o7; prose essy with passing references to Nichol pp.1o5, 1o7)
vi) Theory/Text/Self: Scobietext, by Robert Rawdon Wilson (pp.1o8-114; prose essay with passing references to Nichol pp.1o9, 111, the martyrology 112)