posture.

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pp.

The fourth issue of posture called for submissions investigating the liar’s paradox; the relationship(s) between truth and lies, and the excluded middle.

‘This sentence is false.’

As discussed by Graham Priest in An Introduction to Non-Classical Logic: From If to Is, if the above sentence is to be true, then what it says must be the case. Hence it is false. On the other hand, suppose it to be false, and that it is just what it says, so it is true. In either instance — an instance in which it would abide by the law of excluded middle where either a first possibility, or its negation must be true — it is both true and false; a paradox.

As the liars we reject common truth and falsity along with their binary encumberments, embracing instead their contradiction. We follow pages running in circles and chase the tails of possibilities. As the honest we tug on paradox, grasping at reality and gasping at its negation, all the while tussling with strengthened liars as we realize our belief is a fallacy.

This is for you, the liars and the honest, the fourth quarter of the first whole.

An experiment; continued.And anything goes.So long as it has good posture.

The liar’s paradox; and the excluded middle.

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white planewith walls of chanelier room, and circles represnting trees and possible cheese (emmental)

moon 01:41 - 02:41

white plane in elevation/section to explore moon beams and bird perches

matt with chicory

mined squares leading to mutual zugzwang

white to move

black to move1. kd72. kb73 lose

Scene: The Spring Ball of the Full Moon. [April 24 1935 after Bullitt]. Bulgakov 20th century, The Master and Margarita. p. various

Logic: Mined Squares leading to Mutual Zugzwang. Hooper 1970, Mutual Zugzwang. p.twenty-one

white to move

01:41

02:41

a g

ceiling shown dotted

h

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1

1. kc62. stalemate3. lose

c7

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In many cultures, musical pitch was given names that did not correspond to the local alphabet. Perhaps

unsurprisingly, the names of notes,

[ do/di = ~C, re = ~D, mi = ~E …etcetera, ]

are consistent across the globe, although the

ancient cultures were unaware of one another.

Here is pattern of melody and of language; language being a secondary instrument categorising the

musical system. It is reasonable to deduce that sound-names and audible pitches were once entwined

with a lexicon in the general consciousness. you know, like, the SYNTACTIC combination of LEXICALS and

NAMES that lead to language were, at some basic level, innately connected to meaning – a

meaning not literate and explainable, but acoustic and like, uhdunno … intrinsic⇑.

Nitrogen, carbon dioxide, oxygen are drawn⇓,

from the esophagus over the larynx -

opening to the pharyx, creating

waves of emotion carried over our empty, endangered …atmosphere.

Received directly and meaningfully by you.

Instead of reading it as text, then, it seems to be more honest and advantageous to listen to it, or describe

it through sounds – to convey its unfolding over time

with another untranslatable method of communication, operating in a medium which itself reveals

significance over time…?

It is not frozen music◊. It is music

stretched taught and solid

through Einstein’s interchangeable time

and space: becoming familiar with use,

occupying a place, of memories -

belonging to the body as well as the head.

So what about representation?

Does its representation have a musical counterbalance?

Displacing literacy, with its interchangeable typography -

fissures of intent traversed but lessons forgotten

journeying the wires of fuckin’… html to java,

across plateaus and platforms

blogged and printed - in eco-friendly format.

⇑ http://en.wikipedia.org/wiki/Speech

⇓ http://www.routledge.com/books/details/9780415363235/

◊ http://www.finestquotes.com/select_quote-category-Architecture-page-0.htm

- contemporary music is not found in song-books. Do-re-mi is intrinsic no longer, hell! we don’t

sing to celebrate like we used to. It’s the remixes that flow on and the lo-fi fuzz that give music genre,

typology. We read between the lines of the melodies and the lyrics, the product is vinyl, deliverable,

plastic, foreign, ETS one-off,

- borrowed, yours, the sleeve, the place where you bought it, recollections,

- from the gig, the experience

- of holding the mis-cropped printed artwork while the

- wa^^^es beat beat beat yer drums –

- and heart strings

= Yours is your version, the ensemble you downloaded, named,

= beyond the melody or mouthed lyrics

= or the people who wrote it: its in your

= computer, your ipod, your Seinheissers, your Sonys … the complex, heavy air

= received directly and meaningfully? By you…?

What time is your music? What time is this place⇔? Where are you? Have you walked into an image?

A brand? An icon? A name?

A space?

Are you enjoying yourself bitch ?

Write, play, dance to the ambiguous, unknown it – to the places out-of-doors.

Allow it to tell you all these things, without uttering a sound.

⇔ Kevin or David Lynch, I can never remember

“ four tunes ,,

‘Solfeggi’ is the Italian name given to the practice of singing the historic names of notes as they match the melody of the song : The most well known example is “Do-Re-Mi” in The

Sound of Music. This here is a less well-known (poetic) piece by Kate Walker [and it is Architecture].

‘Solfeggi’

In many cultures, musical pitch was given names that did not correspond to the local alphabet. Perhaps

unsurprisingly, the names of notes,

[ do/di = ~C, re = ~D, mi = ~E …etcetera, ]

are consistent across the globe, although the

ancient cultures were unaware of one another.

Here is pattern of melody and of language; language being a secondary instrument categorising the

musical system. It is reasonable to deduce that sound-names and audible pitches were once entwined

with a lexicon in the general consciousness. you know, like, the SYNTACTIC combination of LEXICALS and

NAMES that lead to language were, at some basic level, innately connected to meaning – a

meaning not literate and explainable, but acoustic and like, uhdunno … intrinsic⇑.

Nitrogen, carbon dioxide, oxygen are drawn⇓,

from the esophagus over the larynx -

opening to the pharyx, creating

waves of emotion carried over our empty, endangered …atmosphere.

Received directly and meaningfully by you.

Instead of reading it as text, then, it seems to be more honest and advantageous to listen to it, or describe

it through sounds – to convey its unfolding over time

with another untranslatable method of communication, operating in a medium which itself reveals

significance over time…?

It is not frozen music◊. It is music

stretched taught and solid

through Einstein’s interchangeable time

and space: becoming familiar with use,

occupying a place, of memories -

belonging to the body as well as the head.

So what about representation?

Does its representation have a musical counterbalance?

Displacing literacy, with its interchangeable typography -

fissures of intent traversed but lessons forgotten

journeying the wires of fuckin’… html to java,

across plateaus and platforms

blogged and printed - in eco-friendly format.

⇑ http://en.wikipedia.org/wiki/Speech

⇓ http://www.routledge.com/books/details/9780415363235/

◊ http://www.finestquotes.com/select_quote-category-Architecture-page-0.htm

- contemporary music is not found in song-books. Do-re-mi is intrinsic no longer, hell! we don’t

sing to celebrate like we used to. It’s the remixes that flow on and the lo-fi fuzz that give music genre,

typology. We read between the lines of the melodies and the lyrics, the product is vinyl, deliverable,

plastic, foreign, ETS one-off,

- borrowed, yours, the sleeve, the place where you bought it, recollections,

- from the gig, the experience

- of holding the mis-cropped printed artwork while the

- wa^^^es beat beat beat yer drums –

- and heart strings

= Yours is your version, the ensemble you downloaded, named,

= beyond the melody or mouthed lyrics

= or the people who wrote it: its in your

= computer, your ipod, your Seinheissers, your Sonys … the complex, heavy air

= received directly and meaningfully? By you…?

What time is your music? What time is this place⇔? Where are you? Have you walked into an image?

A brand? An icon? A name?

A space?

Are you enjoying yourself bitch ?

Write, play, dance to the ambiguous, unknown it – to the places out-of-doors.

Allow it to tell you all these things, without uttering a sound.

⇔ Kevin or David Lynch, I can never remember

“ four tunes ,,

‘Solfeggi’ is the Italian name given to the practice of singing the historic names of notes as they match the melody of the song : The most well known example is “Do-Re-Mi” in The

Sound of Music. This here is a less well-known (poetic) piece by Kate Walker [and it is Architecture].

7

In many cultures, musical pitch was given names that did not correspond to the local alphabet. Perhaps

unsurprisingly, the names of notes,

[ do/di = ~C, re = ~D, mi = ~E …etcetera, ]

are consistent across the globe, although the

ancient cultures were unaware of one another.

Here is pattern of melody and of language; language being a secondary instrument categorising the

musical system. It is reasonable to deduce that sound-names and audible pitches were once entwined

with a lexicon in the general consciousness. you know, like, the SYNTACTIC combination of LEXICALS and

NAMES that lead to language were, at some basic level, innately connected to meaning – a

meaning not literate and explainable, but acoustic and like, uhdunno … intrinsic⇑.

Nitrogen, carbon dioxide, oxygen are drawn⇓,

from the esophagus over the larynx -

opening to the pharyx, creating

waves of emotion carried over our empty, endangered …atmosphere.

Received directly and meaningfully by you.

Instead of reading it as text, then, it seems to be more honest and advantageous to listen to it, or describe

it through sounds – to convey its unfolding over time

with another untranslatable method of communication, operating in a medium which itself reveals

significance over time…?

It is not frozen music◊. It is music

stretched taught and solid

through Einstein’s interchangeable time

and space: becoming familiar with use,

occupying a place, of memories -

belonging to the body as well as the head.

So what about representation?

Does its representation have a musical counterbalance?

Displacing literacy, with its interchangeable typography -

fissures of intent traversed but lessons forgotten

journeying the wires of fuckin’… html to java,

across plateaus and platforms

blogged and printed - in eco-friendly format.

⇑ http://en.wikipedia.org/wiki/Speech

⇓ http://www.routledge.com/books/details/9780415363235/

◊ http://www.finestquotes.com/select_quote-category-Architecture-page-0.htm

- contemporary music is not found in song-books. Do-re-mi is intrinsic no longer, hell! we don’t

sing to celebrate like we used to. It’s the remixes that flow on and the lo-fi fuzz that give music genre,

typology. We read between the lines of the melodies and the lyrics, the product is vinyl, deliverable,

plastic, foreign, ETS one-off,

- borrowed, yours, the sleeve, the place where you bought it, recollections,

- from the gig, the experience

- of holding the mis-cropped printed artwork while the

- wa^^^es beat beat beat yer drums –

- and heart strings

= Yours is your version, the ensemble you downloaded, named,

= beyond the melody or mouthed lyrics

= or the people who wrote it: its in your

= computer, your ipod, your Seinheissers, your Sonys … the complex, heavy air

= received directly and meaningfully? By you…?

What time is your music? What time is this place⇔? Where are you? Have you walked into an image?

A brand? An icon? A name?

A space?

Are you enjoying yourself bitch ?

Write, play, dance to the ambiguous, unknown it – to the places out-of-doors.

Allow it to tell you all these things, without uttering a sound.

⇔ Kevin or David Lynch, I can never remember

“ four tunes ,,

‘Solfeggi’ is the Italian name given to the practice of singing the historic names of notes as they match the melody of the song : The most well known example is “Do-Re-Mi” in The

Sound of Music. This here is a less well-known (poetic) piece by Kate Walker [and it is Architecture].

” in The

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Fuzzy memories of a day Wellingon lied and said it was summer.I lie and say it looked like this.

Fuzzy memories of a day Wellington lied and said it was summer.I lie and say it looked like this.

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truefalsebothneither

tt

tt t

tt

t f

ff

f

f

ff

f

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truefalsebothneither

tt

tt t

tt

t f

ff

f

f

ff

f

Travelling between A and B, somewhere between looking through the window and looking at my watch the instance stopped.Trying to meet yours, my eyes are tried. Trapped as Zeno’s arrow, 4 is motionless, exiting the instant millions of times as objects other than itself. Forgetting to catch up as it restarts, time sweeps the objects aside.

Between A and B.

Nothing would move if we were all instants.

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Some breed of moth sulky greys tip their hats to the clouds, twist their bodies around.

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Analogue manifestation of digital conception.An investigation of agent based design systems, employing a bottom-up design approach.

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PSEUDO SUITS. SILK AND TOOTHLESS.

She sat invisible, on a chair.

Her cloak of camouflage draped elegant and unseen,

tides of blue eyes swelled at her feet,

a small smile directed at the empty wall behind her

a suspicious satellite searching for signals

brushed at her cheeks stirring a blush a single

internal riot a rage raising an inner rouge

she sat full and empty burning thin ashes

with his lips.

a slight but certain dragon

with fiery determination seeks signs of

the supernatural. Surveying the chair his

ocean stirred, sensed depth, sensed lies,

sensed worlds underneath some lonely layer

of sultry nothingness, sitting poised, sitting

pretty, sitting on the chair.

She sat pseudo and silent on a chair,

Chained to it with thin strings of deceit and misshapen

Delights for her quiet observance.

Secret and subtle she brushed her findings under the door.

Holding herself, and her robe of noiseless plague

hollow squeals under her feet, bulging

sharks baited and wearing silk suits, with no teeth.

His search will never end this girl will never surface,

a lone dinghy in the depth without an anchor.

Her evidence complete this secret survey endures,

Her, soft and almost in the corner on a chair.

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Contributors.

Art direction and editorial by Katherine Roberts.

Cover image. Katherine Roberts. Empty.

For information and enquires, posture can be contacted at posture.publication@gmail.com and viewed at posturepubllication.tumblr.com

p3. Meals Guise. Everything is possible. Photoshop hack job. Len-ingrad, New Zealand.

p9. Lisa Crutchley. It was summer. Photography. Wellington. lisa.crutchley@gmail.com

p6-7. Kate Walker. Four Tunes.

p10-11. Katherine Roberts. Nothing would move if we were only instants. Analogue/digital drawing + collage. Wellington. roberts.a.katherine@gmail.com

p4. A Friend. And then I found this... Photograph. Berlin. Developed in the Netherlands. ian.rouse@hotail.com 021 077 4337

p14. Carolyn Guthrie. moth dust. Supernatural photography, ghost in the film. Wellington. caro.g88@gmail.com

p13. Jack Delgado. Good Day, Mr. A. Wellington. www.jackdelgado.com

p17. Carolyn Guthrie. PSEUDO SUITS. Small and sudden word braid, a french plait wig. Wellington. caro.g88@gmail.com

p15. Ronan. Black and White. Mathematics/digital collage. technocr8@gmail.com

p16. Fabware Studio. Architectural Association, London.

p19. Mark Southcombe. necessary nothing. Montage. Wellington. mark@voidarchitecture.co.nz

p5. Phil Mark. Sk #001 [experimental]. Digital [from analogue]. Chessboard logic/satirical narrative. Wellington. strangelinks@gmail.com

Priest, Graham. An Introduction to Non-Classical Logic: From If to Is. 2nd ed. New York: Cambridge University Press. 2008. 129.

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All with good posture.

posture would like to extend a kind word of thanks to the known and the new who have supported and contributed to the fourth issue. posture is looking forward to conversing with you again soon.

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The liar’s paradox; and the excluded middle.

Number 4.