Badly-Drawn Birds Drawn Badly by Ben
Badly-Drawn Birds Drawn Badly by Ben constitutes a semiotic exegesis on the de-reification of technêin its praxis as subsumed within the recursive dialectic of artistic process and anti-process. Through the liminal, yet intensely fraught, frames of Mad Bird and Sad Bird-avatars of modernist rupture and postmodernist resignation, respectively-AwardWinning Professor Benjamin Truitt orchestrates a metatextual interrogation of the fragmented yawp, here manifest as an aporetic interplay between sublimated rage and disaffectation.Initially mediated through the hollowly authoritative narration that presumes to define the epistemological contours of their being, the badly-drawn birds are introduced not merely as figures but as discursive artifacts destabilizing their own textuality. Sad Bird, in an act of meta-discursive resistance, problematizes the structural framing imposed by the narrator, thereby inaugurating an epistemic crisis that prompts Mad Bird to reject, in a totalizing gesture, not only the narrator's motives but also the very ontological legitimacy of narrative control itself. As the imposition of external meaning is thus foreclosed, the symbolic vessels of rage and ennui, confronted with the abyss of their poorly-renderedbeing, attempt to seek solace in one another-only to be intruded upon by the totemic reverberation of past aesthetic hegemonies, embodied in Well-Drawn Bird (drawn by guest artist CarrieAnn Reda).Well-Drawn Bird's passiveaggressive salutation-at once a trivializing interjection and an assertion of