{"id":592,"date":"2025-05-08T22:17:50","date_gmt":"2025-05-08T22:17:50","guid":{"rendered":"http:\/\/jevelin10.local\/?post_type=fw-portfolio&#038;p=592"},"modified":"2026-04-16T21:46:47","modified_gmt":"2026-04-16T21:46:47","slug":"about-the-projects-and-the-genres","status":"publish","type":"fw-portfolio","link":"https:\/\/birdandocean.com\/studio\/project\/about-the-projects-and-the-genres\/","title":{"rendered":"About the projects and the genres"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row overflow=&#8221;default&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]<span style=\"font-size: small; color: gray;\"><a href=\"https:\/\/birdandocean.com\/studio\/project\/about-the-website\/\">about this website<\/a><\/span><br \/>\n<span style=\"font-size: small; color: gray;\"><a href=\"https:\/\/birdandocean.com\/studio\/project\/about-the-books\/\">about the books<\/a><\/span><br \/>\n<span style=\"font-size: small; color: gray;\"><a href=\"https:\/\/birdandocean.com\/studio\/project\/about-the-writer\/\">about the writer<\/a><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_section][vc_row][vc_column][vc_column_text css=&#8221;&#8221; el_class=&#8221;text_my_black&#8221; el_id=&#8221;SIII+TWH&#8221;]<\/p>\n<p style=\"text-align: center; color: #002e28; font-size: 1.5em;\">Introduction<\/p>\n<p style=\"text-align: center; color: #002e28; font-size: 1em;\">to the<\/p>\n<p style=\"text-align: center; color: #002e28; font-size: 1.5em;\">Projects<\/p>\n<p style=\"text-align: center; color: #002e28; font-size: 1em;\">and the<\/p>\n<p style=\"text-align: center; color: #002e28; font-size: 1.5em;\">Genres<\/p>\n<p>&nbsp;<\/p>\n<p><strong>&nbsp;Preface<\/strong><\/p>\n<p>When I was young and half-starving for light and life, my writing explored \u2013 with intense but short-lived enthusiastic dashes \u2013 every path I could find. That\u2019s pretty typical, I guess. And a useful instinct for artists, I think, especially young artists. Settling too soon on a stable sense of self, world, and work, it forecloses adventure, limits one\u2019s horizons. Still, though, exploring in this way, every new piece of work soon got set aside as the next idea, attempt, experiment pushed previous ones farther to the fringes of the studio space.<\/p>\n<p>&nbsp;<\/p>\n<p>Eventually, without any map, with no broader plan beyond simply struggling forward, working and working, a few experiments (<em>The Where House<\/em>, <em>Satyricon III<\/em>, \u201cand shopping\u201d, \u201cNew China\u201d etc.) seemed to reach beyond the beautiful shadow-world I felt trapped in, like trees that finally grew beyond the canopy of the dense forest I\u2019d been lost in for so many years.<\/p>\n<p>&nbsp;<\/p>\n<p>Sometime between 2000 and 2010 these efforts got organized into projects. That become a pattern for my work, most of which now gets arranged into projects. I live in a system of tree-houses built near the tops of those few high-growing trees, all connected by vines and rope bridges. I spend a lot of time perfecting my lonely tree-house village. A few experiments are exceptions to that, as I long to escape these limits too.<\/p>\n<p><strong>&nbsp;<\/strong><\/p>\n<p>Because I miss the confusion of those early years on the forest floor when I had no idea what visions might come, what strange flora and fauna I\u2019d find, or what I\u2019d be working on next week. In those days not everything was connected, or the connections were so wild they were out of control, almost unknowable. I want to spend more time trying to regain the confusion and clarity, the visions. But mostly I need to finish the projects listed below. Night\u2019s coming, after all.<\/p>\n<p><strong>&nbsp;<\/strong><\/p>\n<p><strong>The list of projects:<\/strong><\/p>\n<ul>\n<li><a href=\"#siii\">Satyricon III and The Where House<\/a><\/li>\n<li><a href=\"#R4\">Reading for Satyricon III and The Where House<\/a><\/li>\n<li><a href=\"#BSL\">Breakfast in a strange land<\/a><\/li>\n<li><a href=\"#BW\">Bootes-Waugh, the light-hearted existentialist<\/a><\/li>\n<li><a href=\"#BaO\">Bird and Ocean dot com<\/a><\/li>\n<li><a href=\"#spectacles\">Strange Spectacles (\u201cand shopping\u201d is in here)<\/a><\/li>\n<li><a href=\"#essays\">Short essays<\/a><\/li>\n<li><a href=\"#aristotle\">Aristotle on role-playing games (\u201cgaming Aristotle\u201d?)<\/a><\/li>\n<li><a href=\"#readers\">The audience problem, or \u201cReaders are not people\u201d<\/a><\/li>\n<li><a href=\"#annie\">Annie\u2019s Columbine<\/a><\/li>\n<li><a href=\"#Alice\">Alice in Interwebsland<\/a><\/li>\n<li><a href=\"#NovelWithAI\">Novel (sonnet in novel form) that explores the abilities of AI &#8230;<\/a><\/li>\n<li><a href=\"#backburner\">Others, including smaller projects in embryo<\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p id=\"siii\"><strong><em>Satyricon III <\/em>and <em>The Where House<\/em><\/strong> were conceived as sister-books, the former Dionysian and the latter Apollonian. The end of <em>Satyricon III<\/em> came to me in a vision around 1982. At that time I had no idea what it meant. Figuring out what it meant has been much of my life\u2019s meaning since then. The book was finished between 2014 and 2015. <em>The Where House<\/em> was sketched out between 2000 and 2012, then set aside, then picked up again in 2024. I\u2019ve hit a stone wall since then. Hard to crack through. Impossible to climb over. The idea of <strong>genrelization LINK? <\/strong>developed while working on these two books.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"R4\"><strong><em>Reading for Satyricon III and The Where House<\/em> <\/strong>is where the idea of genrelization gets worked out in workshop theory. By \u201cworkshop theory\u201d I mean a theoretical exploration that\u2019s also an experiment in writing: is it possible to write literary theory in a way that\u2019s human, quotidian, accessible, even playful, enjoyable to read while still being accurate or even acute, and above all useful?<\/p>\n<p>&nbsp;<\/p>\n<p>The idea of genrelization began, if I remember correctly, with the resume essay. It\u2019s a pretty pedestrian bit of theory by a masters student. After writing it I had to decide: get a PhD? Or try to be the writer I\u2019d dreamed of being since I was 10 years old? While reading Zizek\u2019s <em>The Sublime Object of Ideology<\/em> I realized I have nothing at all to say as an academic. \u201cOh that Slavoj!\u201d I thought to myself. He seemed like the kid in middle school who won all the prizes and was adored by all the girls. What hope is there for the rest of us? Plus it\u2019s fun to say out loud. Give it a try: \u201cOh that Slavoj!\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>So writing\u2019s the road I took. <strong>I see it this way (LINK TO THE BLOG BIT): <\/strong><\/p>\n<p>&nbsp;<\/p>\n<p id=\"BSL\"><strong><em>Breakfast in a strange land <\/em><\/strong>has three parts: 1) <em>Momento Phainos, <\/em>2) <em>The 7 Hills of Time, <\/em>and 3) free-standing vignettes.<\/p>\n<p><em>Momento Phainos<\/em> is an attempt not to die. The genre it tries to initiate, self-biography, may or may not catch on, but the method and focus \u2013 daily life, insignificant events of daily life, 99% of human experience \u2013 and the thing it tries to do with that contents, I\u2019m thinking nothing\u2019s been done quite like it before. So there\u2019s that. Oh, and it focuses on the present moment.<\/p>\n<p>&nbsp;<\/p>\n<p><em>The 7 Hills of Time <\/em>focuses on the past and tries to answer the question: \u201cWhat does history mean to an individual life?\u201d Like <em>Momento Phainos<\/em> it\u2019s got a phenomenological method to it; the question\u2019s not about truth (whatever that means) but about experience. In fact, the question it asks might be better phrased: \u201cWhat is the experience of history and how does it overlap, coalesce, shape and receive shape from the experience of a single human life?\u201d <strong>LINK TO BLOG BIT.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>FREE-STANDING VIGNETTES<\/p>\n<p>&nbsp;<\/p>\n<p id=\"BW\"><strong>Bootes-Waugh, the light-hearted existentialist <\/strong>was created in response to my friend Mark Williams\u2019 note on <em>Breakfast in a strange land, Momento Phainos<\/em>. Mark said it has no romance. \u201cWell then let\u2019s romp some sweet romance, by dang!\u201d is my reply. The name \u201cBootes-Waugh\u201d was originally associated with Breakfast in a strange land when that project was first conceived in summer 2011. At that time it was to be a series of travel articles. So Bootes-Waugh and Breakfast in a strange land grew up together, then separated into two distinct but related projects. The form, tone, and so on of the Bootes-Waugh stories comes from a combination of 3 literary models. I won\u2019t tell you what they are, as some readers may want to guess. If you send me a message with your idea, I\u2019ll tell you whether you\u2019ve guessed correctly or not.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"BaO\"><strong>Bird and Ocean dot com (this website). <\/strong>My newest project began in the summer of 2024. It tries to <strong>genrelize<\/strong> the writer\u2019s website form of text, to dance with artistic schizoidery. I hope it\u2019s a new literary form or genre, one that combines elements of magazine, zine, personal website, traditional writer\u2019s website, performance art, and others.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"spectacles\"><strong>Strange Spectacles <\/strong>is a collection of early stories, the more-or-less best of some early experiments. \u201cand shopping\u201d is in here.<\/p>\n<p><strong>&nbsp;<\/strong><\/p>\n<p id=\"essays\"><strong>The short essays project has a motto: <\/strong>\u201cBring all of language to all of life\u201d. And vice versa. The first short essay (it\u2019s actually the third, but the first two were too rough to share and I think they\u2019re lost now), \u201cNew China\u201d, was begun in 2005 and finished around 2013. Most readers can\u2019t get through part 1, and I understand why, so I usually only share part 2. Part 1 is crucial, though, for the essay\u2019s representation of a personal journey. <strong>LINK TO BLOG BIT?<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p id=\"aristotle\"><strong>Aristotle on Role-playing games. <\/strong>What would Aristotle say about role-playing games as literature (especially <em>Fallout New Vegas<\/em>, but also games like <em>The Outer Wilds, The Forest, Subnautica <\/em>and many others.). I\u2019ve sketched out a story titled \u201cA game called \u2018Desolation\u2019\u201d which I think would work really well for a Fallout mod. The main point, theoretically, is to explore what elements and patterns make for good RPG mod stories.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"readers\"><strong>\u201cReaders are not people.\u201d <\/strong>Audience is understudied, I think, and radically misunderstood (in a positive, creative sense, the way Lacan means \u201cmisrecognize\u201d). Our relationship is strange and (for me, anyway) uncomfortable. I want to figure this puzzle out. Treating \u201creaders\u201d and \u201cpeople\u201d as identical categories seems \u2026 paradoxical and full of contradictions. The title\u2019s click-bait, by the way, which I think fits with the project, which is bound to fall flat on its face before standing up and dancing (I hope) like Fred Astaire. Here\u2019s a crux: what\u2019s the logic of treating a subset (readers) like one of its supersets (people)? Would a 3-dimensional Venn diagram be useful here?<\/p>\n<p>&nbsp;<\/p>\n<p>I\u2019ve agonized over \u201caudience\u201d for half a century. The only thing that\u2019s eased the pain of this headache has been the realization that \u201creaders are not people\u201d. An artist must not treat readers like people. They\u2019re more like a cross between \u2026 what? \u2026 angels and fictional villains of 18<sup>th<\/sup> century stage melodrama? It\u2019s strange talking to you like this. Especially when I\u2019m not talking. But actually I am talking because I often talk while I write. But that\u2019s not really the same thing is it \u2026 this monologue has gone on too long and i want to wrap it up.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"annie\"><strong><em>Annie\u2019s Columbine<\/em><\/strong>, a kids\u2019 book.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"Alice\"><em><strong>Alice in Interwebsland<\/strong><\/em> is something i&#8217;m trying to make for Bird and Ocean dot com. &#8220;Interwebsland&#8221; refers to geographical, psychological, sociological, historical webs as well as the internet. All the tangled web we weave. The first try at this genre is <a href=\"https:\/\/birdandocean.com\/studio\/project\/excursion-pilot-season\/\">here<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"NovelWithAI\"><strong>A &#8220;novel&#8221; (i call it a sonnet in novel form) written using AI,<\/strong> exploring whether AI is helpful in producing high-quality literary writing. The working title of the piece is <em>And Then Comes Death<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p id=\"backburner\"><strong>Backburner projects: <\/strong><\/p>\n<ul>\n<li>Lumpy and Scraps (a TV series)<\/li>\n<li>Roman comedy is ripe for an updated comeback\n<ul>\n<li><em>The Manaechmi<\/em>. Can <em>The Manaechmi<\/em> be genrelized?<\/li>\n<li>Others?<\/li>\n<\/ul>\n<\/li>\n<li>Novelistic\n<ul>\n<li>Minor paradise (make it more roman comedy-ish?)<\/li>\n<li>Sun in lockstep, or whatever<\/li>\n<\/ul>\n<\/li>\n<li>The Hope Paradox (or Puzzle). A sci-fi thing. Maybe a short story.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;[\/vc_column_text][\/vc_column][\/vc_row][\/vc_section]<\/p>\n<\/div>","protected":false},"featured_media":843,"comment_status":"closed","ping_status":"closed","template":"redux-templates_full_width","fw-portfolio-category":[],"fw-portfolio-tag":[],"class_list":["post-592","fw-portfolio","type-fw-portfolio","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>About the projects and the genres - Bird and Ocean<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/birdandocean.com\/studio\/project\/about-the-projects-and-the-genres\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"About the projects and the genres - Bird and Ocean\" \/>\n<meta property=\"og:description\" content=\"[vc_row overflow=&#8221;default&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]about this website about the books about the writer[\/vc_column_text][\/vc_column][\/vc_row][vc_section][vc_row][vc_column][vc_column_text css=&#8221;&#8221; el_class=&#8221;text_my_black&#8221; el_id=&#8221;SIII+TWH&#8221;] Introduction to the Projects and the Genres &nbsp; &nbsp;Preface When I was young and half-starving for light and life, my writing explored \u2013 with intense but short-lived enthusiastic dashes \u2013 every...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/birdandocean.com\/studio\/project\/about-the-projects-and-the-genres\/\" \/>\n<meta property=\"og:site_name\" content=\"Bird and Ocean\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-16T21:46:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/birdandocean.com\/studio\/wp-content\/uploads\/2025\/05\/contraption2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/birdandocean.com\\\/studio\\\/project\\\/about-the-projects-and-the-genres\\\/\",\"url\":\"https:\\\/\\\/birdandocean.com\\\/studio\\\/project\\\/about-the-projects-and-the-genres\\\/\",\"name\":\"About the projects and the genres - 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