He studied fine art and drama at Manchester University and was subsequently appointed writer in residence at the city's Royal Exchange theatre. But Noon did not stay too long in the theatrical world, possibly because the realism associated with the theatre was not conducive to the fant. But Noon did not stay too long in the theatrical world, possibly because the realism associated with the theatre was not conducive to the fantastical worlds he was itching to invent. While working behind the counter at the local Waterstone's bookshop, a colleague suggested he write a novel. The result of that suggestion, Vurt , was the hippest sci-fi novel to be published in Britain since the days of Michael Moorcock in the late sixties.
|Published (Last):||17 June 2009|
|PDF File Size:||5.70 Mb|
|ePub File Size:||16.92 Mb|
|Price:||Free* [*Free Regsitration Required]|
It uses the Metamorphiction process to apply the techniques of electronic dance music to the production of words, dissolving language. In this mutated, liquid state, words are manipulated into new forms; borrowed text is sampled and transformed. The Cobralingus Engine allows the user to manipulate language into new shapes and new meanings. The device takes an inlet text as a starting point, which is then processed to create another text entirely, known as the outlet.
This outlet text can be seen as the ghost, or the unconscious desire, haunting the original text. The Cobralingus Engine makes use of the Metamorphiction process. This process imagines text to be a signal, which can be passed through various filter gates, each of which has a specific effect upon the language.
Each gate allows the writer to access different creative responses within his or her imagination. The effect of each gate is to produce an interim text, which is transmitted further along the pathway. For instance, Mary Shelley's Frankenstein contains the following sentence: 'I saw the dull yellow eye of the creature open. This progress is entirely dependant on the user's inspiration, moment to moment, as the text makes its journey through the machine. This book contains various examples of the Cobralingus Engine in operation.
In each case a word-snake diagram allows the reader to follow the transformation of the text as it travels from gate to gate. Along the way it is hoped that each interim text will be of individual interest; however, the real pleasure of Cobralingus comes from enjoying the pieces as a whole. From inlet to outlet, the journey is the goal. Attacks text, changing words of choice into others of a similar sound. Recommended for advanced users.
Uses machine function to introduce new elements to text. Elements always specified. For example, 'Search and Replace: day with night. Cobralingus Source: Instructions. Cobralingus Example.
This exemplary poetry, finely encapsulating the very essence of language, ensures an experience the like of which has never seen before. Noonatics will find everything to their taste. For a while now, Jeff Noon has made much use of the prefix "Liquid" when discussing his art. Sampling, Decay Filters, Randomising, Looping.
Cobralingus Engine - Metamorphiction Process
How does a sample of de Quincey's Confessions of an English Opium Eater give birth to a mutant, six-fingered hand? This essay articulates the logic of Noon's experiment in constrained writing, which concretizes the play of signal and noise, pattern and randomness, in the flow of information. In the process, the critic suggests, Noon dramatizes how printed texts rupture and reassemble when they are transferred to electronic media. I feed too much on inward sources; I live too much with the dead. My mind is something like the ghost of an ancient, wandering about the world and trying mentally to construct it as it used to be, in spite of ruin and confusing changes. Art destined to live has the aspect of a truth of nature, not of some coldly worked out experimental discovery. Let's get it on, sugar.