(renovacyoun)

Part of Speech: noun

Pronunciation: [ren-uh-'vey-shun]

Definition: Restoration, the process of renovating, refreshing.

Usage: The noun renovation refers to the physical (or, in its original sense, spiritual) act of restoring something to a new condition. Renovation is most commonly used in reference to houses or buildings, which undergo a process wherein the structural and cosmetic deficiencies are repaired like new. Until recently, the word was more commonly used in reference to the heart, "renovated" by the grace of God in the Christian world.

Suggested Usage: Nearly anything can be renovated, not just the houses on Extreme Home Makeover, and the word deserves to be used as such. Your car can undergo a renovation, it's true. But your elderly grandfather can experience renovation as well. Give him an iPod, a pair of skinny jeans, a Guitar Hero controller, and an earring. Let him keep his browline glasses, though. They're coming back in a big way.

Etymology: Used in the early 15th century, the Middle English word that eventually became renovation (renovacyoun) referred exclusively to the spiritual rebirth experienced in Christianity. It is derived from the Latin past participle renovare, as re + novare means to make new. The term "renovate" was not seen in print until some time later

Extracted from http://www.yourdictionary.com/wotd/renovation.

"Narrates Thru Golden Doors"

a short 1 minute clip from the forthcoming feature length film to accompany the blessed CEP presentations in January.
Possibility of a debut at the WhiteRoom/Poly at Falmouth as part of the CEP Presentation launch programme.
This Motion Picture Soundtrack was brought to you through the RP80 guitar effects pedal; albeit no longer a reliable source of sound modification-> mutation->translation as one of the main lef/right buttons has 'caved in'to the machine itself as is almost nigh-on impossible to shift back into place. Will have to seek specialist advice upon returning to Blighty.)

The sound recorded at the time and on the original unadulterated/not from concentrate footage had picked up an distasteful amount of windnoise. So, by firstly slowing the footage down twice- which is both an visual and audible shift/change/alteration/mutation, I then plugged in my effects pedal and began playing and replaying the clip changing each time the number of the effect {the range from 1 to 80, although most sound very similar}. Eventually, I narrowed down my four favourites that gave the most interesting 'mutation'modification to the footage sound.The chosen effect numbers were:
59 66 67 77
{Particular notable favourite is 67 because of its sonic quality resembling that of both birdcalls and American military marching band fifes and whistles; both of which are qualities I am in the process of perfecting through computerized manipulation. On top of this, I believe that the octaves/'notes' effect 67 cycles through are the same as for "Taps" ~ the American verison of the British 'The Last Post' which was coincidentatly played at the folding of the white hart flag during the penultimate part of WaterWorks back in the Old Country, June 2010. Perhaps on return to Falmouth we can ask Eliot to replay the tune, but modify it live through the effects pedal and then overlay onto the recorded footage you hear on the clip below- also see http://en.wikipedia.org/wiki/File:Taps_on_bugle.ogg for a quick reminder of the tune and then compare with listening to the footage}

Order of modification->mutation->translation of the video from raw stills camera footage involved first tarnslation of file format into one recognisable by Windows Movie Maker.
Then, through experimentation with various clips and the video effects upon them resulted in my favouring the 'Slow Motion, Half' ~ 'Very Old Movie' ~ 'Threshold' and 'Posterize'. Reasons or rather 'agenda' for such modification stems from the continued exploration of the futile{?} attempt to return to the real from the hyperreal
+ the social reseach of deception via the virtual mediums of sight and sound, with the hope of encouraging and provoking the audience to question the value and "authenticity" of what they being rpesented with what they are being told is being presented- between their projection, mine and social construction ~
{all under deconstruction}.

Having experimented with using the 'original footage' of Ellis Island immigrant embarkings, there was very little I was able to modify that would alter the footage to such a degree of bearing some personal artistic seal.
However, it suddenly struck me that instead of altering the 'original' why not later the 'new' footage to give the appearence of being 'old'/'vintage'/'authentic' {language game superlatives etc.}?
By careful adjusting the black and white/greyscale grain of the two ages of footage am I able to mutate and equate the two ages into an indistinguishable parallevel of 'timeless classics' and 'enforcenticity'.

The raw footage/clips are of the walk from the boat towards the famous 'golden doors' of Ellis Island, where millions of immigrants passed through to be exmained, questioned and eventual approved entry into the United States of America.

Conerning the development of this footage, aside from the coupling of the modified 'new' and 'old' footage, the film will be projected and I performing with it- possibly with Melodica or other musicians playing along to the 'soundtrack' or manipulating the soundtrack live {should the effects pedal function again proper}.
I feel that to further explain my process of 'mutation'/translation and modification of image/sound I need to show clips of the 'original' raw footage at some instances in order for the audience to gain a comparative view... is it possible to create a visual and audiable 'comparative text' from the ordered sucession of image and sound?

RADIO ZOOT: residue of a city

RADIO ZOOT: residue of a city: "i liked the bright lights and the city wide spew, the hustle and the feeling of not fitting in but thats ok, who does, its a mash up a synch...

Under the false pretence of the french collusively working within our language, deconstructing the cities of speech and thought and text, a deceptive translationof of Zoot's text into English, Emperors New Blog, Jedi Mind Trick, Acting, Seld-Denial
leads to¬

I liked the bright lights and the city wide spew, the hustle and the feeling of not fitting in goal thats ok, who faire, its has mash up has synchronized chaos of colour (mostly gray) and sound (mostly traffic). I made it through the underground worming my way through crushes, like has eel up the escalator à emerge into has hubbub, not necessarily where i wished à appear goal so goddam happy à be there anyway, lugging bags and squinting into the wan autumn light at the crumpled underground map. Something about it- the mix, its devastating undeniability - big massive wide solid grind mostly undecipherable now folks in their thousends just rubbing along together now not, barging past head down... Work of art balances roadworks and improvements lost in worth face presentation, big gestures of architecture belonging à the state, the history of has few impacting from all sides 200 stories high. I smile along with has multiplicity of children, newer Londoners, has guest in their city of bright lights and attractions and crazy paving. House sized demanding bill boarding covers over Windows one other people's lives like every ones so busy, and i am too, goal i'd so like à stand and stare because its still amazing the colour -fireworks over primrose hill- and the sound- has thousand languages just babbling, making their worlds go round"

And as dastardly as the prime time first time did it again, gonna keep doing it, Derridean trace test facility via the supercial mechanismé of the internet translator box- appearance is all to these bots, BEWARE our teachers would say, their future lies inches from your understanding and inevitable miscomprehension BEWARE or awe turns that into THIS:
{From the previous, into the supposed, now I reveal my sleeve and unto the chosen volunteer, now read...}

J'ai aimé que les lumières de la ville et la ville large crachent, la bousculade et la sensation de ne correspondant pas à l'objectif cela bien, qui fait, son a la pâte a synchronisé en haut le chaos de couleur (surtout gris) et solide (surtout la circulation). Je l'ai fait par le worming souterrain ma façon par les bousculades, comme a l'anguille sur l'à d'escalator émerge dans a le brouhaha, pas nécessairement où j'ai souhaité qu'à apparaît que l'objectif si goddam à heureux est là de toute façon, les sacs de lugging et louchant dans la lumière d'automne wan à la froissé sous terre carte. Quelque chose de lui- le mélange, son undeniability dévastant - le grand solide large massif meule surtout des indéchiffrable maintenant gens dans leur thousends frottant juste le long de maintenant pas, bousculant ensemble la tête passée en bas... L'oeuvre d'art équilibre des courses sur route et les améliorations ont perdu dans la présentation de visage de valeur, les grands gestes d'architecture qui appartient à l'état, l'histoire d'a le quelques influe de tous les côtés 200 histoires haut. Je souris avec a la multiplicité d'enfants, plus nouveaux Londoniens, a l'invité dans leur ville de lumières de la ville et d'attractions et le pavé fou. La maison a calibré exigeant la facture qui monte des http://www.blogger.com/post-edit.g?blogID=5129824044525905649&postID=8804885723100002066couvertures sur Windows une autres vies des gens comme chaque une si occupé, et je suis aussi, l'objectif que j'aimerais si la position d'à et le regard fixe parce que son calme stupéfiant la couleur -les feux d'artifice sur la colline de primevère- et le son- a mille langues babillant juste, faisant leurs mondes aller en rond

Then back into English:

I liked that the lights of the city and the wide city spit, the crush and the sensation of not corresponding one to the objective that well, that does, his has the dough synchronized in top the chaos of color (especially gray) and solid (especially the circulation). I did it by the underground worming my manner by the crushes, as has the eel on the to escalator emerges in has the hubbub, not necessarily where I wished that to appears that the objective if goddam to happy is there in any case, the bags of lugging and squinting in the light of fall wan to the crumpled under earth card. Something of him- the mixture, his devastating undeniability - the big massive wide solid millstone especially of the indecipherable one now people in their just rubbing thousends alongside now not, jostling together the past head down below... The art work balances races on road and the improvements lost in the presentation of face of value, the big gestures of architecture that belongs to the state, the history of has the some influences of all the sides 200 high histories. I smile with has the multiplicity of children of London newer, invited it in their city of lights of the city and of attractions and the paved crazy. The house gauged exacting bills it that climbs of the covers on Windows another lives of the people as every an if occupied, and I am also, the objective that I would like if the position of and the look sets up because his stunning calm the color -the fireworks on the primrose hill- and the sound- has thousand languages chattering just, doing their worlds to go in round

Laaanguidg is a virus Ooo!
And step, 2, 3,4 turn around!

Le lumières des de que d'aimé de J'ai de la ville et la ville grand crachent, la bousculade et la sensation de l'objectif d'à de pas de correspondant de ne cela bien, qui fait, le fils un la pâte un synchronisé en le chaos du de haut de couleur (surtout gris) et solide (surtout la circulation). Le de pair de fait de l'ai de Je le pair de façon de ma de souterrain de worming les bousculades, le com un Dans d'émerge de l'à de sur de l'anguille un brouhaha du, le souhaité de j'ai d'où de nécessairement de pas si de l'objectif de que d'apparaît de qu'à le là d'est de heureux d'à de goddam de toute façon, les poches de Dans de lugging et louchant la lumière à wan la carte de terre de sous de froissé. Quelque a choisi de lui- le mélange, le fils undeniability dévastant - le grandiose solide grand massif meule surtout du leur de Dans de gens de maintenant d'indéchiffrable le de juste de frottant de thousends longtemps du pas de maintenant, l'ensemble de bousculant la tête passée en diplômes universitaires... Equilibre d'art des cours sur la route et les améliorations ont perdu Dans la présentation du visage de valeur, les grandiose l'état d'à d'appartient de qui de gestes, l'influe de quelques du de l'histoire de tous les côtés 200 histoires haut. Je souris avec un la multiplicité, plus nouveaux Londoniens, un ville de leur de Dans de l'invité de lumières de la ville et et le pavé fou. La maison un calibré exigeant la facture qui monte de l'autres d'une de Windows de sur de couvertures rivalise du si d'une de chaque de com de gens occupé, et je suis aussi, le si de j'aimerais de que de l'objectif la position et la que de parce de fixe d'égard du fils calme stupéfiant la couleur -les feux sur la colline de primevère- et le fils du- un juste de babillant de langues de mille, l'aller de mondes de leurs de faisant en rond

Big Blue Button centered Translate, final time, and: click!

The lights of the of that of magnet of I HAVE city and the city big spit, the crush and the sensation of the objective of no correspondent of not that well, that does, the son one the dough a synchronized one in the chaos of the of top of color (especially gray) and solid (especially the circulation). The of peer of fact of have it of I the peer in a manner of my of underground one of worming the crushes, the com one In of emerges from the to on eel a hubbub of the, the wished of I have from which of necessarily of not if objective of that of appear of that to the there of is of happy one of goddam in any case, the pockets of In of lugging and squinting The light to wan the card of earth of under of crumple. Some chose of him- the mixture, the son undeniability devastating - the grandiose solid massive big millstone especially of the them of In of people of now of indecipherable one it of just one of rub of thousends a long time of the step of now, the body of jostle the past head in university diplomas... Equilibre of art of the courses on the road and the improvements lost In the presentation of the face of value, the grandiose the state of belongs of that of gestures, the influence of some of the history of all the sides 200 high histories. I smile with one the multiplicity of London newer, a city of their of In guest of lights of the city and and the paved crazy. The house an exacting calibre bills it that climbs of the others of an of Windows of on of covers competes of the if of an of every of com of people occupied, and I am also, the if of I would like of that of the objective the position and it that of because of sets up of consideration of the stunning calm son the color -the fires on the primrose hill- and the son of the- a just one of chattering of languages of thousand, to go it worlds of their of fact in round

But wait! The Grande Finale! Yes! People! We have reached a new goal! We have exceeded our gross national limits and have burst vomit thrust to a New World braver, later, neater: A New World English has been born! Observe it's beating limbs before your very prosaic eyes:
{the wool knit tighter under the guise of French, but English, to Spanish, becoming NEW WORLD EINGLIISH}

The lights of the of that of magnet of I HAVE CITY AND THE CITY BIG SPIT, the crush and the sensaciуn of the objectifies of no corresponde of not that well, that hacer, the his one the dough has synchronized one in the caos of the of seсal of color (especially gray) and solid (especially the circulaciуn). The of peer of fact of have it of I the peer in has manner of my of underground one of worming the crushes, the com one In Of emerges from the a one eel has hubbub of the, the wished of I have from which of necessarily of not tejo objectifies of that of appear of that a the there of i' s of happy one of goddam in any puts, The pockets of In of lugging and squinting The light a wan the card of earth of under of crumple. Some thing of him-the mixtura, the his undeniability devastating - grandioso(a) the big maciza solid millstone especially of the them of In of people of now of indecipherable one it of just one of rub of thousends has largo time of the step of now, the leotard of jostle the past head in university diplomas... Equilibrio of arte of the chase one the road and the improvements lost In the presentation of the cara of worth, grandioso(a) the the state of belongs of that of gestures, the influencias of some of the history of all the sides 200 high histories. I smile with one the multiplicity of London newer, has city of their of In Guest of lights of the city and and the paved crazy. The house year exacting gauges bills it that climbs of the others of year of Windows of one of covers competes of the tejo of year of every of com of people occupied, and I am also, the tejo of I would like of that of the objectifies the posiciуn and it that of because of sets up of consideration of the stunning calm his the color-the fires one the primrose hill-and the his of the-has just one of chattering of languages of thousand, a go it worlds of their of fact in asalto

Baudrillard arrives in NYC, declares heir to Hellenism

"You discover a feeling of glory in New York, in the sense that you feel wreathed in the general energy of the place - what you are part of here is not the lugubrious spectacle of change, as you find it in Europe, but the aesthetic form of a mutation".
(J. Baudrillard [trans. C. Turner], 2000, America. Verso ltd.)

mutatis mutandis

1498, "with the necessary changes," from L., lit. "things being changed that have to be changed," from the abl. pl. respectively of the pp. and gerundive of mutare "to change" (see mutable).

Reminders to the initial and the final proposal attached to 'mutate'- need to re-member my enquiries into this mutation and these mutations.
Feeling that the mutuality of the PC being-as-it-is, must change.
The changes to be done, and being done, are necessary, have to be necessary though all the while, in their becoming necessary they will be changed. Rewrit as We see fit. Change, don't keep it.
Further research "from the aphorism to the soundbite- via the throw away comment; an anti-history of saying what you want to say in as few words as possible, in succint, but often opaque manner."

About time I moved my research and reading into the contextual specific work of America, further biting for the chew into the text of Monsieur Baudrillard. Should further compare and cross-reference bis texts and lexical flagposts e.g. horison, end, hyperreality across his works.

"...tomorrow I shall be carried directly by plane... -to the city that is heir to all cities at once. Heir to Athen, Alexandria, Persepolis; New York."
(ibid.)

Baudrillard arrives and leaves us with the comparative urban contexts of the ancients with the present. Athens, Alexandria and Persepolis in recent historical retrospect are now thought to be the first 'cosmopolitan' cities: "The word ‘cosmopolitan’, which derives from the Greek word kosmopolitês (‘citizen of the world’), has been used to describe a wide variety of important views in moral and socio-political philosophy."
Again, how 'new' is postmodernism? If the cultural and contextual melting pot has been cooking since before that great landmark/flagstone of Our Lord, why such arousal in the critics of postmodernism?

The period of Hellenism as is known now emerged out of the conquests of Alexander the Great, the world's first great colonialist, it has been argued. However, for my research purposes, it is this cultural, increasingly urban 'side-effect'/consequences of his colonialism that interest me most with regards to my contextual enquiries into mutliculturalism, neo/new cultures, languages, 'ways':

"Alexander the Great's conquests and the subsequent division of his empire into successor kingdoms sapped local cities of much of their traditional authority and fostered increased contacts between cities, and later, the rise of the Roman Empire united the whole of the Mediterranean under one political power. But it is wrong to say what has frequently been said, that cosmopolitanism arose as a response to the fall of the polis or to the rise of the Roman empire. First, the polis' fall has been greatly exaggerated. Under the successor kingdoms and even — though to a lesser degree — under Rome, there remained substantial room for important political engagement locally. Second, and more decisively, the cosmopolitanism that was so persuasive during the so-called Hellenistic Age and under the Roman Empire was in fact rooted in intellectual developments that predate Alexander's conquests."
(extracted from Stanford Dictionary of Philosophy: http://plato.stanford.edu/entries/cosmopolitanism/)

"Greek dedications, statues, architecture and inscriptions have all been found. However, local cultures were not replaced, and often mixed to create a new culture." (Wikpedia, Hellenistic Civilization).

It was from this pan-european&asian colonisation that the mutation of languages began, according to historical linguists. [more research to prove requiered]
What is also comparatively of interest to me along the threads of English becoming a Global Language (but in tern, being changes, adapted, assimilated and mutated by the other language communities that it attempts to impose itself upon; the premises I believe in), so Alexander's attempt to spread the

"... Hellenistic Koiné (writ large), the koine glóssa 'common language' of the Greece of Alexander the Great and subsequent times. This language transcended the local languages (or rather, dialects) of the various Greek city states and confederations of such states, with their previously jealously guarded separate political, cultural and linguistic identities..."
(Walter de Gruyter, 1991, Principles of Historical Linguistics, published first in Issue 34 of Trends in Linguistics, Studies and Monographs)

Note also that de Gruyter discusses further this koiné "a de Atticized Attic : It was based on the dialect of Athens, a city which had become one of the most important state in Greece ..." and beyond, undoubtedly. See how a dialect nurtured and raised in an urban context soon became an ancient global language?

And now to weave D&G., left impatient at the back of the line awaiting their arrival, back into the 'line' of enquiry- above you read further theoretical~critical evidence of how NYC is a 'city without a language', without a culture, under its own self-imposed inquisition of unweaving all its citizens contextual backgrounds , but rather than replace them with the factitious seals of American approval, the city mixes/mezclaytes its citizens 'anew' from their constant attempt to understand each other and their selves being sew into the selvages of an urban past being perpetuated in an endless present...