![]() His analogies reach geometrical levels of correlation, to the point where literal and figurative run together in a kind of verbal materialization of the very substance from which meaning is mined. Ramm’s theories read like diagrammatic breakdowns of poetic metaphors. For Ramm, such statements are not just metaphors his project was the actualization of metaphors, to become “a real live painting in B-boy style.” Graffiti, though the starting point for Rammellzee, was merely one facet of a vast theoretical project developed over a lifetime that was mythos, cosmology and philosophical system all rolled into one. And, just as numbers can be used to deduce truths from the natural world, and then eventually make things based on the truths, so can words. In his dense and cryptic philosophies exists the notion that words are governed by mathematics, the same way numbers are. Rammellzee forcefully re-asserts the primacy of the pure architecture of words and their letters. The monks elevated this ornamentation into a spiritual practice on par with their actual interpretation. The church recognized a threat to its hegemony in the monks’ disciplined devotion to the pure craft of ornamenting the letters. Ramm started out doing graffitti, which he called Gothic illuminated script in the tradition of 15th century monks, whose works were suppressed by the Pope when their ornament crowded out the syntactical meaning of the good word of the Lord. Terence McKenna was on to a similar idea when he imagined the very real possibility of telepathy: not the transmission of thoughts like emails, but the manifestation of them in holographic form through the synesthesia of sound and texture. ![]() The form and function, the how and the why, the medium and the message, the package and its contents – these were collapsed, and what emerged was a name that was a three-dimensional energy form that can be seen and grasped, not merely understood. It had more in common with a hieroglyphic image than a series of semantic signifiers. For me, something clicked just from reading the name of this iconic equation with no other context. No wonder it's confusing to most – the RAMM-?LL-Z? (as it’s properly written) is the living equation that points a way beyond the deadlock of contemporary culture. – to deconstruct that alphabet, and use its components to build mutated, alien forms. In fact, RAMM:ELL:ZEE is not the name of a legendary graffiti artist, but an equation which the man who bears it is "performing." The nature of this equation is enigmatic, but it has to do with declaring war on the conventional alphabet – composed of phonemes, syllables, prefixes, suffixes, etc. Upon first encounter, the name Rammellzee is confusing to most, because that ordering of syllables isn't found in English, nor any other language in existence. You think war is always shooting and beating everybody up, but no, we had the letters fight for us. We're talking about where graffiti originated, where hardcore war went down, with markers against markers and letters against letters. ![]() Whereas before you'd be trying to break through and you would be on the bottom of the pile. We're going to work our way around it instead of breaking it straight up. Our situation today is to break down a door of knowledge hidden behind society. Since we are dealing with Roman letters, we have to go back to the day when the Romans were using the ram to break down doors. Rammellzee is a military function formation… I am ramming the knowledge to an elevation and I am understanding the knowledge behind the Zee. ![]()
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