Month: March 2021

Observance

Reading Time: 3 minutes

At three, the process of deification
then came known to me. 

Jade, like the ancient devices, are foreign objects
to all men. With an abdomen pressed, exposed
next to the king who had braced the mountains,
my marrow spills to a world far untouched––

the reign of the gods far from gone. Then,
a Director rushed into Qingce. Elders say

the waterwheel and eastern winds
cross one another ceaselessly. On the cliffside––

the beast touches springwater. A soldier laid rest
is left roses. Like everything in this land, it too,
is a secret. No one heard a sound when a
denmother gave her body to the seas.

And Qingce dew exhausts the air, pleasure-barges
tread past. Her shoes pressed clean like deer hoof
on the long-forgotten streambed.

Foreign object touched by the hoarfrost
of the night presses red on my grandfather’s
bare face. I will later know all the secrets
of this world.

When you taught me the requiem, I could
barely count to six. The sound of kindling,

or of ember, for something so intangible
came from rock and promise. I learned

blood is blood. Man begs to live and is
seldom granted this. A foreign god courts
the folds where I was born. Mother performed
no rituals to remove the chancre, for this family

only knows how
to blossom.

Before a womb there must have been
a creator. I think we fear this man?

If for every creator,
an end must come–

then for every man,
life shall be undone.

Carcasses smell like plum, like Exuvia, like
lurid god, like contagious plague, like cataclysm
come, like the beginnings of the earthen springs,
like the ones that gave me bones. 

A braided man took your hand before
the obsequy and asked you to enunciate

the scarlet flame. He drew the wolfsmoke,
drunk, and said the descension was a false thing.

For the first time in decades, we excised
a life under dominion and put forth the army
in the marshlands. Pale men acceded the treatise,
the ancient device spared from laurel,

and the prayers of springtime…
all what we memorized in the hours of her death.

I learn to compose an elegy. I learn to embalm
a newly-departed body. One human body against
weightless, unconscionable divine makes me want
to take, take, and take again.

*

Divinity is practice. I know this. A sickness
of the earth fuels the conflagration. As I live,
I see many more who will die. As man prospers, lights
cede one by one. Self-sacrifice is extinguishment.

The swallowtail clicks to signal
that it is running.

Every believer must ask
why men are still dying.

The universe allowed for stone unto stone,
bricklayer on cement, civilization to dream, a body
on a body. Of course it comes and goes.

Under a bridge, two children in brown and gold come
close to taking their own life. The older must be no more
than nine. This song was for them.

The females use their bare feet
to spill oil and trace a resting place.

Courtesan teller says this is the apotheosis.
In one moment’s time each emanation of god
will come touch me, and I shall know
the noumenon. I am the heir legitimate,

sent forth to die. I declare the spring
my own. Light comes before light, a ladder
before a flame, tectonics–presumably–before
the war curdled. 

The body tenses, expulsing its blood and histories
where a millelith pulls strains of brackish riverwater.

When I am executed, tell humanity
I loved them. In four minutes, the principle
is death by starvation, truer
than omnipotence promised me. My memory

is no more than myth. I, the exorcist
of all flames.

A world ends and is reborn
in penrose steps. Internecine such

that men exist to come as ash. (And what
is living without preservation?)

God leaves behind karmic decay. Man leaves
behind man incarnate.

Which is all to say that I hold
no responsibility. If I were starving,
the men and women do too,
leaving carapaces for merchants to pluck.

(So much that the vessel of the dead god
is stretched out on an empty reserve of gold…
)

I drink the waste of heaven, come vivir
or tyranny. I remember a putrid stench
left astute when fire came before
fire. Mother opened her mouth for justice,

and I open mine for a prayer.

I know each swain. I know dying too, is an artifice.
I know a god who lived for centuries.

February’s loved things

Reading Time: 4 minutes

Looking back at the past month and things I’ve enjoyed, and such. Happy March. I think I need someone to be proud of me or I will probably combust. Twenty-one is inevitable and I have never felt so, so alone.

Web

Bangkok Art Book Fair

I am so so in love with the Bangkok Art Book Fair’s Co-op site, set in this most lovely serif + gradient pink that reminds me of my first ever fansite coded thirteen years ago.

Jin-Woo Choi

A historian who has designed a very spatial, networked blog borne out of desire to explore systematic training in archival has ended up crafting one of the most genuine, lovely means of curating a repository of academic discovery.

Reads

Design: The Invention of Desire - Sara Pena

Design: The Invention of Desire, by Jessica Helfand

“This is what it means to be alive—to witness visually and respond
viscerally to something…”

And of course, Helfand very next says that the eyes are only the first line of defense. Everything afterwards demands greater scrutiny. The ethical parameters, morals, and wider ramifications that we then put out into the world after the pleasure of seeing. Helfand’s design theories reflect both what the younger designer in me and the one decades from now would love to hear. This book also propelled me to think deeper about design education and its accessibility, both in the world-class education I’m receiving as a Yale student (who still is a little unsatisfied by the undergraduate technology & art programs) and the education I hope to carve out for thousands at home with Developh. She writes: “design will not matter as long as design education is stalled in the nineteenth-century academic deep-freeze model of the atelier.” At the same time, my longtime approach to technology as an act in need of “incubation”, or one that can be realized with funding and the right amount of mentorship without the space and avenue for thought is truly a farce. How can a field so impassioned be so easily reductive? Helfand addresses these many thoughts, validating these fears and navigating everything from design and play to blaming a mass shooting (where she describes the college student as …”deeply troubled”) on the existence of social media before making a point towards variables vs constants in the context of type and grids. (Later on she shits on the rainbow Facebook profiles that people swap to in support of gay marriage, and a bit on video game addiction and self-aggrandizement as lossy markers of passion.) While there are some questionable comparisons, this was a lovely one to read with the Ethical Design Club at Developh.

(Also see my 2021 Reading List)

Film

Film Review: All About Lily Chou-Chou (2001) by Shunji Iwai

All About Lily Chou-Chou (2001) by Shunji Iwai

A Bjork-like, ethereal pop ideal looms in the background of a dark, twisted adolescence, mostly on bullying. I’ve replayed this movie so many times that it started to lose meaning, and last month I rewatched it, as if for the first time my feelings flushed and I could barely process it. I can’t ever look back towards my teen years without the glaring trauma waiting to be decompressed, forgiven, or buried. I wonder if this is the same for all of us.

Puella Magi Madoka Magica: Rebellion | Madoka magica, Puella magi madoka  magica, Magi

Puella Magi Madoka Magica the Movie Part III: Rebellion

Three years since Manila. Before the movie’s climax, Homura holds the false Madoka, trapped in her labyrinth tightly. Is it fair for a teenage girl to give her life for the universe and bear the sins of us all? Is it worth destroying the universe for her happiness, no matter how cursory it may be?

Music

D>E>A>T>H>M>E>T>A>L by Panchiko

I’m so late, but there’s something incredibly magical about a band discovered through a rotten tape of their 2000 album singing about a Studio Ghibli movie seen at 7, then never again until your twenties. When I was introduced to Panchiko by their background, how could I not feel it all through that lens of re-discovery? How many times have I had to piece together blurred memories of Ghibli films, now having them at the tip of my tongue but choosing to bury them – afraid of what I will recall…

(also the Panchiko discord is filled with like 14-year-olds and yeah i’m definitely late and i’m not sure if i’m allowed to feel this hit by an album, but fuck it, it really was so ahead of its time)

Maple by Wyatt Smith

The Pull by The Microphones

I saw your earthling body wrapped in wool… also, this in stereo is otherworldly – then the drums come in. See:

Bisita

Reading Time: 4 minutes

Today I release another game. We’re nearing three years since I’ve been home to the Philippines. Now, I’m far removed from the long comforts & routines I’ve come to know: 3AM masses before Christmas eve, Sunday mass with my thighs sticking themselves to plastic chairs under the 35C heat, picking high school crushes from the crowd amongst 1,000 other students on sports bleachers for First Friday Mass.

Play Bisita on Itch.io: https://chi.itch.io/bisita

Bisita is an interactive fiction “tour” and recollection of eighteen years of my life in the Philippines – the only intensely Catholic nation in Asia – and the devotion and routine that surrounded the Holy Week practice of the Seven Churches Visitation.

From sunrise to sundown, we’d walk or commute from church to church to pray the fourteen Stations of the Cross. This project was prompted by my Interactive Design Class, taught by Rosa McElheny. Here are some examples of “tours” on Are.na that we were looking at and thinking about while creating the piece.


(Spoilers below)

  • The experience is an Interactive Fiction-like piece, consisting of over 250 pages and 100 images (lifted from Google Street View). 
  • In between “memories” and recollections are little Javascript minigames that make use of default input fields and interactions, from simply searching for links to areas revealed only when resizing the browser, items hidden in source code, to ticking off monotonous boxes. Every click and interaction increases a step count, an indicator of distance… a timer constantly ticks down –- only reflecting the true amount of time left when about fifty seconds are left.
  • The most defining thing about the experience is that it’s not designed to be completable. When the timer ticks down, an end screen plays and you’re prompted to repeat again… With each replay, you speed through content you’ve already passed by quicker, as each step of the ritual loses meaning.
  • But if the user breaks the game / hijacks the window and in turn, the routine, you arrive to see all the spaces you’ve reached in a stained glass window-like view of each station. (As pictured in the cover of the post.)

Development

  • This is likely the first release of Bisita. I still need to fix the language and poems on certain pages – a lot of them were written in a kind of rushed manner as I built the project and assembled the images and spaces together.
  • I want to make each “replay” more rewarding and sickening. I try to make use of or respect default HTML element styling as much as possible, so what would it look like if each visited link was left in its active blue/visited purple state on the nth replay?
  • There’s definitely a lot of influence here from escape the room style games and internet puzzles. Notpron by David Münnich as the most notable one (looking through old Notpron walkthroughs, dead links and all, is still one of my favorite activities). Aside from Münnich, I have definitely been replaying a lot of Increpare, particularly the HTML5 ones (he has great Twitch streams, by the way). Particular favorites are The Transgression and the recent Heaven on Earth.

After version 1

After sharing this with software-for-people.net – I’m interested in adding an element of seasonality to the experience. What if it’s only completable during Holy Week, and outside, the timer makes it so that you truly can’t get through the experience? What if Bisita was presented with accompanying materials, such as a zine or a video? There’s many compositions and poems that can be drawn here that we can make more use of. Some of the levels are really difficult and only solvable if you look through the source code (this is in the non-source code levels). What if people make walkthroughs? How does that change the practice?

And most of all, the experience was one that should be shared. So here it is.