tag:blogger.com,1999:blog-40373756113466157262024-03-21T13:31:22.611-07:00Synapse InternationalAn international visual poetry gathering, co-edited by Philip Davenport and karl kempton.synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.comBlogger262125tag:blogger.com,1999:blog-4037375611346615726.post-31204493255703660502024-01-24T03:00:00.000-08:002024-03-19T14:36:02.144-07:00ISSUE#7. THE LAST WOLF IN ENGLAND: a manifesto<div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><span style="font-family: georgia; font-size: medium;">3 x <a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">WOLFISMS</span></a><br /><br />Mercure or Hilton?<br />There’s room in every doorway. <br /><br />The wolf going on, going far, returning from eternity, remains nowhere.<br /><br />If you stay out of the way the English <br />Leave you alone<br />But they’re busy-bodies<br />And if you’re dangerous, they’ll send marksmen <br />With bows of burning gold.<br /><br /><br /></span><span style="font-family: georgia; font-size: medium;"><br /><br />(Davenport & others 2022-24)<br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXDj7Yw2j9Ag5tJaPgYvyGo7qB1Hwul7WHYZW2sFewwNvcpc7L5KtaGf2V0gVAR9uq2JL32Nde3Jd_JdMewLwt95nr4l0DZjcGWA3JjTHadvZWtnvF26y04XRpkY7g6I-U1h1QdWoiDOzMJ7degGcPkrq5av5UEsSVvphbFmryqchDB8RygtbYsGFZd40/s938/Screen%20Shot%202024-02-27%20at%2019.58.31.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXDj7Yw2j9Ag5tJaPgYvyGo7qB1Hwul7WHYZW2sFewwNvcpc7L5KtaGf2V0gVAR9uq2JL32Nde3Jd_JdMewLwt95nr4l0DZjcGWA3JjTHadvZWtnvF26y04XRpkY7g6I-U1h1QdWoiDOzMJ7degGcPkrq5av5UEsSVvphbFmryqchDB8RygtbYsGFZd40/w506-h640/Screen%20Shot%202024-02-27%20at%2019.58.31.png" /></a></div><br /><br /><br /><br />ABOVE<br />Untitled, Jon Sarkin<br />Ink on card<br /><br />Image courtesy <a href="http://www.outsiderart.co.uk"><span style="color: #cc0000;">Henry Boxer Gallery</span></a><br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">The core of Synapse ISSUE#7 is a manifesto sequence that speaks to outsider-dom and the living, radical edge of Romanticism.<br /></span><span style="font-family: georgia; font-size: medium;"> <br /></span><span style="font-family: georgia; font-size: medium;">2022-24 Phil Davenport collaborated with people who've experienced homelessness in the UK -- and other vulnerable people -- to make the Refuge from the Ravens and <a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">The Last Wolf in England</span></a> poems, invoking the wolf at the door. These pieces fold out into a larger landscape: Jeffrey Robinson's re-radicalised Romantic Manifestos, inhabited by works from contemporary language artists and poets.</span></h3><div><span style="font-family: georgia; font-size: medium;"><br />The Manifesto respondees include: Erica Baum, Susan Bee & Charles Bernstein, derek beaulieu, Nick Blinko, Liz Collini, Felipe Cussen, Susan Howe, Patricia Farrell, Simon Patterson, Rachel Du Plessis, Jessica Pujol Duran, Kay Rosen, Jon Sarkin, George Widener, Cecilia Vicuña, Cerith Wyn Evans, George Quasha.<br /><br /><br /><br />BELOW:<br />Untitled, Noviadi Angkasapura<br />Ink on paper</span><div><span style="font-family: georgia; font-size: medium;"><br />Image courtesy <a href="http://www.outsiderart.co.uk"><span style="color: #cc0000;">Henry Boxer Gallery</span></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nOX4aijcjPl72e1rN05D23yLjV_Q2bKqC7_3yyzmNLmss5KjlagqSIZws_V-AONE4RHQYWbsmEzOT3pfyYwrJjaE7lZEocW3QdZsOV9wayJv2vTsaVfFFINdlz1PdySB2TZnMBVj04yexSy8xEAEEocZC7vzeIElX1RRNfRdwqBYtR0hRTPuYhL0yVc/s4032/IMG_4616.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nOX4aijcjPl72e1rN05D23yLjV_Q2bKqC7_3yyzmNLmss5KjlagqSIZws_V-AONE4RHQYWbsmEzOT3pfyYwrJjaE7lZEocW3QdZsOV9wayJv2vTsaVfFFINdlz1PdySB2TZnMBVj04yexSy8xEAEEocZC7vzeIElX1RRNfRdwqBYtR0hRTPuYhL0yVc/w300-h400/IMG_4616.jpg" /></a></div><br /><br /><br /><br />Circling wider are various essays including several in memory of Bob Grumman the visual/maths poet whose number poems speak to Neo-Liberalism in language it might understand. And we revisit The Dark Would language art exhibition and anthology, marking its decade of existence with an essay from Carol Watts, an interview with Charles Bernstein, and somesuch. <br /><br /><br /><br /><br />BELOW<br />WOLFISMS sketchbook, Liz Collini, 2023</span></div><div><span style="font-family: georgia; font-size: medium;">Ink, paper, tracing paper<br />(responses to texts by Davenport, et al)<br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-0uk0TB_0AWh2aqgN8MI85QWgk8jkxAiTE4Wyyp_Jyqwi3GeVZlSC05O7jGAZtVOhr9X6KMHTIfM8xfNUaQqHGYJfPN9iRY7u833V75Hkj-LnBcZqLD3HXeBEqMLTs9JP392PkZyfA54RNMRgeZ1EkgEyJyJBNHViYDa7hm6F46nfc0LwqORgi-AMXZ8/s1560/400139125_873899560911100_3442607119699824333_n.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-0uk0TB_0AWh2aqgN8MI85QWgk8jkxAiTE4Wyyp_Jyqwi3GeVZlSC05O7jGAZtVOhr9X6KMHTIfM8xfNUaQqHGYJfPN9iRY7u833V75Hkj-LnBcZqLD3HXeBEqMLTs9JP392PkZyfA54RNMRgeZ1EkgEyJyJBNHViYDa7hm6F46nfc0LwqORgi-AMXZ8/w459-h612/400139125_873899560911100_3442607119699824333_n.jpg" /></a></div><br /><br /><br /><br />1 x <a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">WOLFISM</span></a><br /><br />The withered leaf<br />Must fall from the tree<br />For our feet to fall.<br />Step closer to the edge.<br /><br />(Davenport & others 2022-24)<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><br /></div></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-33352011428168274172024-01-24T02:15:00.000-08:002024-03-19T14:40:52.983-07:00AN EXPLANATION, by Jeffrey Robinson<p><span style="font-size: medium;"><b>/<span style="font-family: georgia;"> AN EXPLANATION by Jeffrey Robinson /</span></b></span></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><p><span style="font-size: medium;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhSDWh7fbP0qO-WmcLy3LlFssrk3-TTpeo5Dw5wN3WW3BAYT1bOMukpAHcMkwnh3uvU5IA73_NrNnHKuCf945dLTcyfHX7Ypt4Mm1gFyhFsmT9A9VohyphenhyphenKyB3Ez17qWVY_tuDUzkuTAV0BVtrH9ui-dDFI1ic6S747JKiTuUL4MDwtVyq1Vah3eVG-hyCc/s514/Screen%20Shot%202024-02-15%20at%2019.29.53.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="309" data-original-width="514" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhSDWh7fbP0qO-WmcLy3LlFssrk3-TTpeo5Dw5wN3WW3BAYT1bOMukpAHcMkwnh3uvU5IA73_NrNnHKuCf945dLTcyfHX7Ypt4Mm1gFyhFsmT9A9VohyphenhyphenKyB3Ez17qWVY_tuDUzkuTAV0BVtrH9ui-dDFI1ic6S747JKiTuUL4MDwtVyq1Vah3eVG-hyCc/w640-h384/Screen%20Shot%202024-02-15%20at%2019.29.53.png" width="640" /></a></b></span></div><span style="font-size: medium;"><b><br /><span style="font-family: georgia;"><br /></span></b></span><p></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;">ABOVE</span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;">Untitled visual poem, Susan Howe</span></span></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><p><span style="font-size: medium;"><b><span style="font-family: georgia;"><br /></span></b></span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: georgia; font-size: x-large;">“Romanticism asserts itself as a continuum” </span><p style="text-align: left;"><span style="font-family: georgia; font-size: large;">(André Breton)</span></p></blockquote><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">THE LAST WOLF IN ENGLAND: a manifesto</span></h3><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><i><br /></i></span></h3><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Romanticism here is not a comfortably long-ago past, but an electric event of the shared present. It’s an urgent re-configuring, an empowering that rejects the rising fascistic tendencies in our 21st Century world.</span></h3><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">The 19th Century is the Age of Revolution, but the poetry of revolution in Romanticism has mostly been forgotten or dismissed by literary history. Our selection of manifestos and responses (from my larger ongoing project called <i>Romantic Manifestos Manifest</i>) seeks to recover this lost radicalism.</span></h3><p></p><p><span style="font-family: georgia; font-size: medium;">Here is a continuum of those Revolutions, still spinning: first a condensation or precipitate of Romantic manifestos (an unusual feature of the Romantic Period was the storm of manifestos), and second, an insistence, by means of 21st-century poetic and text-art responses, that the principles of radical Romantic poetry can fulfil themselves through modern and post-modern realization.</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p></p><p><b><span style="font-family: georgia; font-size: medium;">Denkbild: language art</span></b></p><p></p><p><span style="font-family: georgia; font-size: medium;">The contemporary responses to the Manifestos fulfil a tenet of radical Romantic poetics, breaking out of the mental as well as visual linearity of ordinary print to an open “field”, locating a utopian vision-space for poetry. In the 1790s early Romantic Johann Gottfried Herder anticipated this space-of-writing as a Denkbild, or thought-figure — today language art, text art, visual poetry. The illuminated texts of William Blake (1757-1827) constitute a Romantic highpoint of the Denkbild.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;">A happy intervention by British visual poet and curator of text-art Philip Davenport has led us to collaborate on this set of 21st-century Romantic visual and textual-visual responses by artists and visual poets, including some poetry representing voices from “outsiderdom.” In Romantic Manifestos Manifest, not only the representation of voices of those “outside” but the forces that put them there become a central intention of radical Romantic poetics.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;">In <i><a href="https://soundcloud.com/philip-davenport/refuge-from-the-ravens?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">Refuge from the Ravens: New Lyrical Ballads for the 21st-Century</span></a></i> (edited by Davenport & Grime, 2022) people who have experienced homelessness, rewrote Wordsworth’s original <i>Lyrical Ballads</i> many of which were originally poems of homelessness, and disenfranchisement; “Outsiderdom” renewed the canon and reconnected Wordsworth to the radical continuum. The <i>Ravens</i> project, for which I advised and <a href="https://wordsworth.org.uk/blog/2023/08/25/a-21st-century-detournement-of-lyrical-ballads-wordsworth-rewritten-by-homeless-britain/" target="_blank"><span style="color: #cc0000;">wrote a commentary</span></a>, was the startpoint for Davenport and me to move onward into Romantic Manifestos Manifest. Some <i>Ravens</i> poems do appear in <i>RMM</i>; however the related but more recent <i><a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">The Last Wolf in England</span></a></i> poems (2024) act as counterpoint in this online gathering. The wolf walks outside our circle, often wordless, occasionally making its presence known.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;">Radical Romantic poetics (indeed all radical poetry) operates on the “circumference” (Blake, Dickinson), twisting and untwisting the familiar with the unfamiliar, the doggedly linear with brilliant explorations of the spatial. It presents the perception and valuation of the familiar as small, narrow, while the unfamiliar allows us “To see the world in a grain of sand.” In Davenport’s project <i><a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">The Last Wolf in England</span></a>,</i> poems which include the accompanying aphorisms “Wolfisms”, Davenport and collaborators (many homeless) also explore circumference.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;"><i>The Last Wolf in England: a Manifesto</i> is a name put to what is essentially un-nameable, un-wordable — this first online iteration of <i>Romantic Manifestos Manifest</i> and the responses that spiral us into yet further outliers:</span></p><p></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">Ear to the human tree</span></p><p><span style="font-family: georgia; font-size: medium;">Hear their prayer</span></p><p><span style="font-family: georgia; font-size: medium;">The wolf has ghosts on speed dial.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">(From <i><a href="https://soundcloud.com/philip-davenport/the-last-wolf-in-england?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank"><span style="color: #cc0000;">WOLFISMS</span></a></i>, by Davenport & others)</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RQLhyiYLKdjyIOhZNQbvErXuzLeB5s6gEUfE5-vHXkeRVejtxJCGC_hi5rMaMzuqNzJj7e8K5XSR3AV8xGzIHDyV5RPPy6ALkmcaFojPq-XpBiWavDHv8ej-zmsXhnd9xchqWgxxf24AYkIDa9PE2vxKNU2LX-oHbrxZuhmek-DtLm5bnvOX2gm8CZI/s938/Screen%20Shot%202024-02-27%20at%2019.58.31.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="938" data-original-width="742" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RQLhyiYLKdjyIOhZNQbvErXuzLeB5s6gEUfE5-vHXkeRVejtxJCGC_hi5rMaMzuqNzJj7e8K5XSR3AV8xGzIHDyV5RPPy6ALkmcaFojPq-XpBiWavDHv8ej-zmsXhnd9xchqWgxxf24AYkIDa9PE2vxKNU2LX-oHbrxZuhmek-DtLm5bnvOX2gm8CZI/w506-h640/Screen%20Shot%202024-02-27%20at%2019.58.31.png" width="506" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /></span><p></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">ABOVE</span></p><p><span style="font-family: georgia; font-size: medium;">Untitled, Jon Sarkin</span></p><p><span style="font-family: georgia; font-size: medium;">Ink on card</span></p><p><span style="font-family: georgia; font-size: medium;">Image courtesy <a href="http://www.outsiderart.co.uk" target="_blank"><span style="color: #cc0000;">Henry Boxer Gallery</span></a></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-65640027599321243692024-01-23T12:24:00.000-08:002024-03-19T10:24:24.351-07:00Versus “palpable design” / GEORGE QUASHA <div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZfrv7nJJTSTB0rXg0Qbky4RLh_BcEGscaMnBYzqizjf-K__Ml3DARt9kWJPLwA3lHm_DqELepFCSlkxB48yvYL3ISJ1X0EugSkIQZ1w36swIeqfwJcAXWvIV4f2LJSkgO8hdRr5hhyphenhyphenavwZcE2llnetRAzaDGVCvHEZRgPYQ0mmVXYY1eXjNxar2TUtok/s3832/400dpiIMG_7875-2%20copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3832" data-original-width="2914" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZfrv7nJJTSTB0rXg0Qbky4RLh_BcEGscaMnBYzqizjf-K__Ml3DARt9kWJPLwA3lHm_DqELepFCSlkxB48yvYL3ISJ1X0EugSkIQZ1w36swIeqfwJcAXWvIV4f2LJSkgO8hdRr5hhyphenhyphenavwZcE2llnetRAzaDGVCvHEZRgPYQ0mmVXYY1eXjNxar2TUtok/w380-h500/400dpiIMG_7875-2%20copy.jpg" width="380" /></a></div></div><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br />ABOVE:<br />Untitled [axial art], George Quasha, 2023<br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Says Keats definitively, for nineteenth-century Romanticism and its descendants into the next two centuries: “We hate poetry that has a palpable design upon us.” (Or as Nicanor Parra said: “Contra la poesía dirigida,” against poetry of one direction”). This way, the force of critique enters modern poetic practice, everywhere. </span></h3><div><span style="font-family: georgia; font-size: medium;">I am hearing Keats and the whole radical Romantic tradition when reading Vicente Huidbro, the Chilean poet of Altazor, of “superconsciousness” who locates palpable design as an intrusion of the “horribly official stamp of approval of a prior judgment (perhaps of long standing) at the moment of production” (my emphasis). Palpable design, while it may have been internalized, comes from without, from the social and cultural spheres, from “custom,” from the panopticon, from a voracious market economy with its association of any product, including a poem, with its acquisition, and from gender, race, and class inequities; it appears in poetry as received forms and received modes of speech that produces the familiar and consoling. “From the moment you assume the intention to write, your thought stream is already controlled” (Huidobro). Satanic control, a dybbuk of creation, stations itself at the forefront of your mind and on the tip of your pen; genuine poetic response must overcome such resistance in the very act of thinking-writing. We need to recognize that Keats is distinguishing poetry made with a palpable design from that which isn’t. There are different kinds of poetries just as there are different kinds of readers of poetry! The schools and universities and major publishing houses without question encourage poetry of palpable design, and what is most outrageous because contradictory, the teaching and studying of Romantic poetry and the visionary poetry that follows it decades later that so fearlessly battles palpable design, is taught under the sign of mastery.<br /><br />Design, however, does not have to be “palpable”! Its presence, coming from the imagination, from afar, is a crucial strength: as Blake says, “Reason is the outward bound and circumference of energy,” to create a poem without domesticating its material is to dare frame a fearful symmetry. Aesthetics must operate in the service of the independent “life of things.” For Huidobro, the true poet doesn’t draw on “dream” or “automatic writing” (Surrealism), but “from the moment you decide to pick up your pen, consciousness instantly rejoins the game.” The conscious pen, so to speak, helps the poem to discover its own design, which will include the strange, or as he says: “There is no such thing as a poem unless it entails the unaccustomed.” Or this from the Chinese-American poet Mei-Mei Berssenbrugge: “The chance occurrence is remarkable, when it appears to happen by design.”<br /><br /> George Quasha writes:<br /><br />“When I do think of how [my axial art] is art I think principle art. That is, it is not conceptual in conceptualizing itself as realized object in advance of the act of its making; its conceptual force is surrendered to a principle, which I am calling axial. The principle in this instance may be stated this way: Any entity upright in gravitational space (in this case a person drawing) has an axis (the spine) which allows one to behave coherently in dynamic balance; if one operates predominantly from that space, freely and with integrity, rather than attempting to control the full outcome on an exterior surface, certain revelatory states of attention and consciousness may inscribe themselves in the resulting action and effects. (This species of drawing is probably closer to certain open-process improvisatory dance approaches than to most art drawing, and in my practice is influenced by decades of t’ai chi chuan.) I draw with two hands simultaneously, usually with multiple implements in a hand (whether graphite or brushes with ink or paint), disposed by the lower center of the body and leaving arms/wrists/joints energetically released. The bodymind state of intention, integrity and listening determine the outcome interactively with the materials and the event space. The result is neither chance-determined (as in the theory and practice of John Cage or Jackson Mac Low) nor automatic (as in the theory and practice of certain Surrealists)—I regard “chance” and “automaticity” as belief systems and encompassing narratives which I don’t engage; axiality in my view is self-organized, self-configuring, and liminal to interior and exterior forces. An axially realized entity is in some sense intelligent within itself”.</span></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-5602679462590987882024-01-23T12:23:00.000-08:002024-03-19T11:16:52.842-07:00 a stream scarce heard / FELIPE CUSSEN<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3_yTWyyfqV0HSM8-a1OcfSd4nIrPiHE5Ht2zQTfnLdWlkN1ex86LxY6rnauJFQR5aGIUbGhLWS8BLPgYSqTggw4xkOnLez7JWzb95E49vMr3bKwW5VyG9xct0bNSrEt4dopbNCNMRs8g4ExXVcwkoY1fgnf2fIIoByiOlTqKGZ_6wpnDpNtkG-XIWRY/s675/Screen%20Shot%202024-03-19%20at%2018.13.23.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="675" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3_yTWyyfqV0HSM8-a1OcfSd4nIrPiHE5Ht2zQTfnLdWlkN1ex86LxY6rnauJFQR5aGIUbGhLWS8BLPgYSqTggw4xkOnLez7JWzb95E49vMr3bKwW5VyG9xct0bNSrEt4dopbNCNMRs8g4ExXVcwkoY1fgnf2fIIoByiOlTqKGZ_6wpnDpNtkG-XIWRY/w640-h164/Screen%20Shot%202024-03-19%20at%2018.13.23.png" width="640" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br /><span style="font-family: georgia; font-size: medium;">ABOVE<br /></span>Sigo romanántico (detail), Felipe Cussen 2024</span><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">The old Man still stood talking by my side;<br /><br />But now his voice to me was like a stream<br /><br />Scarce heard; nor word from word could I divide;<br /><br />And the whole body of the Man did seem<br /><br />Like one whom I had met with in a dream;<br /><br />Or like a man from some far region sent,<br /><br />To give me human strength, by apt admonishment.<br /><br /><br />(Wordsworth)<br /><br /><br /><br /><br />Without this stream, the poet seems to say, there would be no poem, only a paraphrasable, controllable plot. The doubleness of speech and the stream of speech scarce heard indicates the simultaneity of presence in the world and expansion from some far region sent, a rotation from subject-centeredness. “what we hear in [poetry] is the combination of two lines, one of which is in itself absolutely mute, while the other, seen separately from its instrumental metamorphosis, is quite without significance or interest . . . . Where paraphrase is possible, the sheets remain unrumpled, so to speak, and poetry has not spent the night there” (Mandelstam). Romanticism begins the process of reducing the distance between words as a stream (beneath the social level of speech), and the aristocratic tradition of poetry as inscription and poetic form as abstraction. (See below,”Writ in water”) line of Whitman streams out from the (social) lyric subject into a democracy of observations: “I lean and loafe at my ease, observing a spear of summer grass.”<br /><br /><br /><br />BELOW</span><div><span style="font-family: georgia; font-size: medium;">Sigo romanántico, Felipe Cussen 2024<br /><br /><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRSKOYEu1PmOvKzojkVrI7c-UBfmy7Ygf4y2JrmvTfrt2z8WGFBLnRQlQqWy8_hOWQ46KAJ75bKGyZj3I8hZmsMPYIm4K3zLBZVATmdRYPKyGyLWnZ5LW8cJohhtfZY5KcxEzWIdmw6eEaM7f8RlVZfUkbGPaCjd2vcf_iB9TGAjA-0ZtmNfMs6Kdpsk/s672/Screen%20Shot%202024-03-19%20at%2017.16.48.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="505" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRSKOYEu1PmOvKzojkVrI7c-UBfmy7Ygf4y2JrmvTfrt2z8WGFBLnRQlQqWy8_hOWQ46KAJ75bKGyZj3I8hZmsMPYIm4K3zLBZVATmdRYPKyGyLWnZ5LW8cJohhtfZY5KcxEzWIdmw6eEaM7f8RlVZfUkbGPaCjd2vcf_iB9TGAjA-0ZtmNfMs6Kdpsk/w480-h640/Screen%20Shot%202024-03-19%20at%2017.16.48.png" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: right;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Felipe Cussen writes:</span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><span style="font-family: georgia; font-size: medium; text-align: start;"><div style="text-align: left;">I used software to randomise all the words of the "a stream..." manifest, then erased the spaces and punctuation to leave it kind of a carmina cuadrata, and highlighted some of its letters to form a "stream" with the phrase "Sigo romántico, yo sigo románticoooooooo...." (I keep being romantic!) from a famous Chilean song.</div></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><br /></div></div></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-54784555751288364082024-01-23T12:22:00.000-08:002024-03-07T11:17:06.159-08:00 Slant / SUSAN HOWE <div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh70Km_cX5ilDR6c7OLT84jsVJb8c3hc-W6NyQUT-jstH9dUavBywjPS4vBMgVg61b18YoKiKS7DAFtqzwu0_OPqZzoHI212qYXEm9KygfKaxXHEgOsKwQNCFnB4PiDjX5iE_I1Vo8oekFT1-0SoTxx7_1mB6yXh30uoFXJGk9kTrvV88o8lRGdqtTv4JA/s731/Screen%20Shot%202024-02-27%20at%2015.14.52.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="516" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh70Km_cX5ilDR6c7OLT84jsVJb8c3hc-W6NyQUT-jstH9dUavBywjPS4vBMgVg61b18YoKiKS7DAFtqzwu0_OPqZzoHI212qYXEm9KygfKaxXHEgOsKwQNCFnB4PiDjX5iE_I1Vo8oekFT1-0SoTxx7_1mB6yXh30uoFXJGk9kTrvV88o8lRGdqtTv4JA/w452-h640/Screen%20Shot%202024-02-27%20at%2015.14.52.png" width="452" /></a></div><span style="font-family: georgia; font-size: medium;"><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><br />ABOVE:<br />Untitled page, Susan Howe<br /><br /><br /><br /><br />““At times,” Goethe continued, “the experience I had with my poems was quite different. I had no impression of them in advance and no presentiment. They came over me suddenly and demanded to be made then and there, and I felt compelled to write them down on the spot, in an instinctive and dreamlike fashion. When I was in such a somnambulistic state, it often happened that the paper before me lay all aslant and that I noticed this only when everything was written, or when I found no room to go on writing”” (Goethe, in Eckermann’s Conversations with Goethe). Suddenly, when poetry seems to come from elsewhere and composition just happens, the poet looks at what s/he’s done, surely shocked and bewildered, becoming aware of the materials (paper) and the skewed angle of the writing on the page. The line of writing has yielded to the more bewildering space or field. Conventional coordinates shift; clearly to write aslant means that at some deep level of mental processing conventional perspectives on reality have shifted too. <br /><br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Wmb4UIUTOl_Uduq8M8AXN9CNY53yERKEHvcaE4DNfJR1qt0_KtySi5TRUpLI7pB6eGf3SeXxIBRauVuZIJRA5o0eWsZkHoUYG20aXNGzNicIvr2IhDNvTjW1IVKGoevisuev0DYpNhky8TXMygIuv1if9rvTgaGAOsVIXh4mXZ70TnA3orZVRfw_hX8/s594/Screen%20Shot%202024-02-27%20at%2015.15.32.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Wmb4UIUTOl_Uduq8M8AXN9CNY53yERKEHvcaE4DNfJR1qt0_KtySi5TRUpLI7pB6eGf3SeXxIBRauVuZIJRA5o0eWsZkHoUYG20aXNGzNicIvr2IhDNvTjW1IVKGoevisuev0DYpNhky8TXMygIuv1if9rvTgaGAOsVIXh4mXZ70TnA3orZVRfw_hX8/w640-h478/Screen%20Shot%202024-02-27%20at%2015.15.32.png" /></a></div><br /><br /><br /><br />ABOVE<br />Untitled page, Susan Howe<br /><br /><br /><br /><br />Emily Dickinson’s famous “Tell the truth but tell it slant” means that the truth is too blinding to be told without some mediation; like Plato’s cave shadows and imitations of it are what we can tolerate. “Success in Circuit lies.” And yet for Dickinson “slant,” as with Goethe, calls attention to the visual, to a disorientation of telling or reading expectation. Don’t think and write in a straight line but in a circuit. For the visionary Dickinson, her dashes and her alternate word choices at the bottom of the page, marked with a +, show her commitment to the page in which the mind of the reader roves in its possible formations and directives; linear communication is dislodged; the slant opens everything, including “enchantment.”<br /><br />Dickinson’s spatializing of lyric reappears in a distinctly modernist fashion in the verbal collage work of her greatest recent interpreter, Susan Howe, whose poetry characteristically departs from linearity in slant-wise juxtapositions of historical quotation and reference material (dictionary, concordance, bibliography). These deposits return at angles, often with shaved down words, stimulating inference where statement or information grows hazy. History and language from the (usually early American) past return at once disembodied and also anchored in the present as newly material realities; their often repressive origins are “forgiven”—that is, acknowledged but not judged--as visual objects. Other domains of extra-normal consciousness can also come to the page slanted, such as the archaic atemporality of myth. <br /><br /><br /><br /><br />BELOW:<br /><br />Untitled page as above, with photographer's shadow & traces of underlying text<br /><br /><br /><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YO65z-HO3N2lfKDssP4QCTzcKZRcpymVeHNnMmY-VHaiuwOdKyXrCi5pWvdR_24-Yj9-cTWkzatmcXVZ3VX0I2Iexy9aJF-XaoVOZPCVU-NwPrLwotih8qJw_KZ1ulrpgrnjrE2r_SrxIqe_R21BSxOFn0Da1i6aYuAccOTRKqlPK3IUUmXNx5vN5aM/s733/Screen%20Shot%202024-01-23%20at%2016.26.58.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YO65z-HO3N2lfKDssP4QCTzcKZRcpymVeHNnMmY-VHaiuwOdKyXrCi5pWvdR_24-Yj9-cTWkzatmcXVZ3VX0I2Iexy9aJF-XaoVOZPCVU-NwPrLwotih8qJw_KZ1ulrpgrnjrE2r_SrxIqe_R21BSxOFn0Da1i6aYuAccOTRKqlPK3IUUmXNx5vN5aM/w282-h571/Screen%20Shot%202024-01-23%20at%2016.26.58.png" /></a></div><br /><br /><br /><br /><br /></span><br />synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-35815747831373678722024-01-23T12:21:00.000-08:002024-03-19T08:53:55.185-07:00Sit together / WILFRED OWEN ± SIMON PATTERSON <p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"></span></p><div class="separator" style="clear: both; text-align: center;"><span class="s1" style="font-kerning: none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ZtNJjdmCVTLSo2W-7a99pkcbdCsWA6K1JX_rzZtAirFxQLpUYHdrJHxRXe8BeNlGv3MKVMDVZ_nVKs0YVYEuGL6iN1ICOiruFX9WE0WDJExQun7QC8DjNo0-UIFHOHSEghGEOUW2IsmJ2T_bM__sZk8QGdUI6aD1zi_JKkTNhki4tReFcUJOMoGocSI/s444/Screen%20Shot%202024-03-07%20at%2018.21.32.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="444" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ZtNJjdmCVTLSo2W-7a99pkcbdCsWA6K1JX_rzZtAirFxQLpUYHdrJHxRXe8BeNlGv3MKVMDVZ_nVKs0YVYEuGL6iN1ICOiruFX9WE0WDJExQun7QC8DjNo0-UIFHOHSEghGEOUW2IsmJ2T_bM__sZk8QGdUI6aD1zi_JKkTNhki4tReFcUJOMoGocSI/w640-h596/Screen%20Shot%202024-03-07%20at%2018.21.32.png" width="640" /></a></span></div><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /><span><br /></span></span></span><p></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">ABOVE:</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="background-color: white;"><span style="font-family: georgia; font-size: medium;">La Maison Forestiere, by Simon Patterson 2011</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="background-color: white;"><span style="font-family: georgia; font-size: medium;">Projection, manuscript & text by Wilfred Owen</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><h3 style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">For Friedrich Hölderlin in one of his most brilliant late fragments, an epitome of radical Romantic yearning and ingenuity, a goal of democracy is so simple: to sit together (<i>beieinander</i>), quietly celebrating the classic host-guest relationship.<span class="Apple-converted-space"> </span>No art: no monument.<span class="Apple-converted-space"> </span>Yet the pathway there instinctively erects the assumption of poetry and monument:</span></span></h3><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">I want to build</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">and raise new</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">the temples of Theseus and the stadiums</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">and where Perikles lived</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">But there’s no money, too much spent</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">today.<span class="Apple-converted-space"> </span>I had a guest</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">over<span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>and we sat together</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-tab-span" style="white-space: pre;"><br /></span></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>--trans. Richard Sieburth</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">To celebrate, or is it recreate? democracy, the artist instinctively turns to the monumental symbols of ancient Greece, a fantasy that <i>mimesis</i> will usher in the revolution.<span class="Apple-converted-space"> </span>The attentiveness of the artist to exigencies spoils the plot: a modern democratic artist has no funding for construction on such a massive scale. Not stated in the poem but surely implied, a monument in stone requires the intense, exhausting work of unsung <i>labourers</i>.<span class="Apple-converted-space"> </span>For Hölderlin, a monument-to-democracy recapitulates the capitalism that undermines a community not based upon inequalities. The collapse of the mimetic, architectural plan, for art as building-up, is indicated poetically by the crumbling of monumental form into a <i>fragment</i>—broken, full of lacunae, which, however, becomes an opening for noticing, incorporating, <i>using the materials at hand</i>, for human beings living out the democratic dream, one to one, next to one another. <span class="Apple-converted-space"> </span></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">Fred Moten’s Hölderlin update:</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><i>jaki’s blues next</i>. just calling, just lining out while they sell that flour. here come</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>presence out of nowhere. the</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">social hum of movement is the essence of it, “because that is Black Power, that</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>is one of the elements, a sitting</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">down together to reason, to ‘ground’ as the Brothers say, we have to ‘ground<span class="Apple-converted-space"> </span></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>together,’” in a gully, in a dungle,</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">in the jungle, on an oil drum, till some furniture moving everywhere. the ballad</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>of the underground is our</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">orchard hill, our clyde woods, our way of shearing, the sound of residue in</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>spacing, like a bare living room in</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">the morning air. when he ready to get up and do his thing, when he wants to get</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>into it, man, it’s paramilitary</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">theory. the good foot is a blues march. the screamers are lost in thought, to</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>prepare the song they pare, like a</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">next machine, man. marshall allen is so close you can hear his people drumming,</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>“we are nowhere, here, we are</span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">Elsewhere, moving, doing it, you know, down” slow, sounding, diving, the shape</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>we in.</span></span></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-3607674700220960782024-01-23T12:20:00.000-08:002024-03-07T11:13:54.682-08:00Scatter / ALLEN FISHER<span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1mkj3XWfuXvOvePhXruEwtQum4sUZolKYrSPl0lIVuwo8mZxVS3bKZkddQbpfOLS2T4FY06ZMBZ3XB2EgExiEeTaDu-mhjhrU1YDa0nhh9gnjJff0wj3KT3rM0Xl91TxgyOOqB8hpwkYI-jWpsENxm-2eEscUOenAjPxidovPeVIa_CU5BZTDjiab3c/s776/Screen%20Shot%202024-03-07%20at%2016.08.37.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz1mkj3XWfuXvOvePhXruEwtQum4sUZolKYrSPl0lIVuwo8mZxVS3bKZkddQbpfOLS2T4FY06ZMBZ3XB2EgExiEeTaDu-mhjhrU1YDa0nhh9gnjJff0wj3KT3rM0Xl91TxgyOOqB8hpwkYI-jWpsENxm-2eEscUOenAjPxidovPeVIa_CU5BZTDjiab3c/w640-h418/Screen%20Shot%202024-03-07%20at%2016.08.37.png" /></a><br /><br /></span><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">ABOVE:<br />Scattered, Allen Fisher. </span></div><div><span style="font-family: georgia; font-size: medium;">Painting 2010 <br /><br /><br /><br /><br />Scatter, as from an unextinguish’d hearth<br /><br />Ashes and sparks, my words among mankind!<br /><br />Be through my lips to unawaken’d earth<br /><br />Drive my dead thoughts over the universe<br /><br />Like wither’d leaves to quicken a new birth!<br /><br />And, by the incantation of this verse,</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: large;">The trumpet of a prophecy!</span><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><h3 style="text-align: left;"><span style="font-family: georgia; font-size: large;">One letter separates “scatter” from “shatter.” Before the scattering, something has broken into smithereens (cf. the Breaking of the Vessels), but in Romanticism those particles radiate light and heat and consciousness. </span></h3><span style="font-family: georgia; font-size: medium;"><br />Poems, a metonym for words, a metaphor for “pollen” (Novalis), bracketed between embers or flames and seeds, with poet as gleaner in fields and meadows, take on the asymmetry of the fragment in relation to an overwhelming consequence outside the aesthetic frame and into the community. Perfume of the flowers (Laetitia Landon)—evanescent particles, “send forth odours with the faint, soft voices / Rising from hidden streams, when all is still” (Felicia Hemans). The poet, finding him- or herself outside the world of culture, beyond the “middle ground,” facilitates a near random movement of generative particles. A few may germinate as poems, or start a fire. Poems generate life beyond themselves and in ways and in places no poet can fully predict. Poesis in its radical intention is centrifugal. <br /><br />Scatter in Shelley is a petition or command for a next stage in which poem fulfils itself in its effect, which may be a renewal either outside or inside poetry. In the former a reader shifts the paradigm; in the latter a new poem or its continuum in a slightly different register may occur (e.g. serial poetry).</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: large;">The trumpet of a prophecy!</span><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><br /></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-36997576766586615542024-01-23T10:22:00.000-08:002024-03-07T11:10:06.773-08:00Play-drive [circa 1968] + Schiller's Spieltrieb / SIMON PATTERSON <br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLX8Lu4aX2ibfCz0z9N-isMi5xb4lZlX4_mkNJda9iqvdsW10YDDrNCJA-NyLQbk6dA9qjsjE2s89rETKoOXb4wQwe678mYNH-8fq8ZtuXozCAbKXES6998AbXm26n3QMxVmvHHBYo3dz7iAYBiZQNIrf35pjSH_ZbWkT8IURyXeQz8c5p7uK8RMci91Q/s631/Screen%20Shot%202024-03-07%20at%2018.33.26.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLX8Lu4aX2ibfCz0z9N-isMi5xb4lZlX4_mkNJda9iqvdsW10YDDrNCJA-NyLQbk6dA9qjsjE2s89rETKoOXb4wQwe678mYNH-8fq8ZtuXozCAbKXES6998AbXm26n3QMxVmvHHBYo3dz7iAYBiZQNIrf35pjSH_ZbWkT8IURyXeQz8c5p7uK8RMci91Q/w296-h400/Screen%20Shot%202024-03-07%20at%2018.33.26.png" /></a></div><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br />ABOVE:<br />Manned Flight. Simon Patterson, 1999<br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Early in On the Aesthetic Education of Man in a Series of Letters (1795), Schiller declares: “Art is the daughter of freedom,” but “today,” he continues, “Necessity is master, and bends a degraded humanity beneath its tyrannous yoke. Utility is the great idol of the age . . . .” </span></h3><span style="font-family: georgia; font-size: medium;"><br />Schiller writes at once from the middle of Enlightenment and Kantian philosophy in which “Reason” guides us through the world and also from the middle of the aura of the French Revolution and its Reign of Terror (1793 when the first version of the Letters was finished). To their recipient, an enlightened Danish prince who was supporting Schiller in an illness, the poet-theorist exclaimed, “I shall regard the freedom of your mind as inviolable,” but in fact his book sets out to relieve its reader from the tyrannous yoke of necessity, Reason, and the French Revolution’s legacy of rebellion and revenge.<br /><br /> For Schiller, contemporary art must refuse to stay within its own domain: how to find “freedom” within the aesthetic sphere? Our mind, he says, works independent of our conscious, egoistic, control, under the sway of drives: first the drive of matter and history (Stofftrieb) and second the drive of form and the law (Formtrieb). In each instance, although each brings us into contact with vital aspects of our reality, we are bound, limited, by the terms of the drive, and thus do not stand in free relation to the terms that they present to us. Schiller then posits a third drive as constitutionally given to us but largely invisible, woefully under-exercised and, indeed, rejected by a society that wants to control us: the play-drive (Spieltrieb). Here we can break past Necessity that “bends a degraded humanity beneath its tyrannous yoke” and encounter all elements of our reality vividly and moreso because they are encountered in a state of play.<br /><br /> Drive This striking term, while associated in the 20th century more with classical Freudian psychoanalysis but for Schiller with the unstoppable source of revolutionary consciousness, desire, and eventual overthrow in France, indicates a force beyond its possible control of society, particularly capitalist society. Jean Baudrillard has said that in the modern western world efforts are made not to confront the drives as dangerous but to “ward them off,” to convince us that society can satisfy them if we satisfy it, a form of infantilization. For Schiller, the drive attempts to fulfil a need and a desire, and any resistance it encounters provokes not accommodation but confrontation. The drive is the internal source, intelligence propelled by desire, of revolution. Radical art, then, is the expression of the drive.<br /><br /> Historically, since Schiller, “play”--and cited in the Letters its sibling indolence, or idleness, or apathy, or indifference—can easily slip into an excuse for escape from reality and the use of mind, often rationalized as healthfully desirable; and why not? If play is relief from work and seriousness, that cannot at all be bad. Instead of either/or, why not have it both/and? <br /><br /> Jean Baudrillard, writing after Paris 1968, proposes that “the police” targets “play,” like “drive,” attempting to promote its regressive form as something that bourgeois capitalist society can accommodate: something you do in a carefully cordoned off “leisure time,” that finds its place comfortably in an overarching framework of exploitation of labor. His essay, “Play and the Police,” recalls Hazlitt’s 1818 declaration,” “the police spoils all,” where “police” means control over not only play, but dream, reverie, illusion, the assertion of these expansive attributes of mind becomes a fundamental intention of radical poetry.<br /><br /><br /><br /><br />BELOW:<br />Manned Flight. Simon Patterson, 1999 <br />(in situ, Finland)<br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4tFrZr5xS5P2c-6t6CQJ_aDKgYPQp20t__AfCpQUT36BzsUSMG9J4NVz0zcrmd4B2FZ3aUdTvEXLn1isPztkKOL4_tWlX9L-iX4RNf0yqNk0DxRdH5ihpBsg_CaVtTT6-qt_YnHPcgh9ujmalAPQLm2IJBy0SvOc7PPujAqjmuJcnWv2Z8_nHDg2pcYs/s1287/Screen%20Shot%202024-03-07%20at%2018.34.40.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4tFrZr5xS5P2c-6t6CQJ_aDKgYPQp20t__AfCpQUT36BzsUSMG9J4NVz0zcrmd4B2FZ3aUdTvEXLn1isPztkKOL4_tWlX9L-iX4RNf0yqNk0DxRdH5ihpBsg_CaVtTT6-qt_YnHPcgh9ujmalAPQLm2IJBy0SvOc7PPujAqjmuJcnWv2Z8_nHDg2pcYs/s320/Screen%20Shot%202024-03-07%20at%2018.34.40.png" /></a></div><br /><br /><br /><br /> In Schiller’s notion of art, artist, art, object and reader/viewer do not simply have a relationship to one another but all participate in the same phenomenon. Moreover, art under what Rancière calls “the aesthetic regime” effects our intervention in the world. Echoing Schiller, Jacques Maritain (quoted by George Oppen) said about our ideal response that “We awaken at the same moment to ourselves and to things.” Too often the artists of democracy—for example, those writing the poetry of suppressed classes of people—assert or declare their needs as identities while tragically bypassing the play-drive as the way of dislodging those needs from the tyranny of the discourse and plot against which they are fighting. When poetry fights the battle against invisibility and suppression of race, class, and gender by taking on the poetry of supplement and free appearance, it undermines the very conventional expectations of resistance that tyrannies can absorb. The chains that need breaking come in the form of linguistic and syntactic and visual poetic convention and in what might be called the collaging of unpredictable traces of the world. At such moments, genuine awakening (Schiller, Shelley, Oppen) occurs.<br /><br /> Art, from the beginning of the Letters to the end, gains its significance from its encounter with what Jacques Rancière, writing about Schiller’s powerfully generative work of Romantic aesthetics, calls “non-art.” At the same time, the play-drive can revolutionize (occupy, deform, renovate) a “classic” work. Osip Mandelstam counterintuitively has said that “the classics” (in his case, Catullus, Ovid, Dante) can occasion the “true revolution” in poetry: to “play” upon them will be to bring them into the present for the first time, and in unimagined ways.<br /><br /> Child’s play is play, but it is also experiment and practice, about creative rearrangements. As Schiller sees it, play emancipates the mind from strictures. Mind doesn’t dwindle in play but searches, wanders, explores, in short, acts in its fullest capacity. Play incorporates rather than excludes and selects, and incorporation or inclusion opens mind to a newly enlarged frame for variety and diversity. Schiller calls this state of play filled infinity. Conceived in terms of the Imagination / Fancy duality, play equals the Fancy—a state of mind open to all encounters and objects, exploratory, centrifugal, and liberatory. Play and the Fancy are motivated by drives and desires at once impervious to control but consciously responsive to it, with an intended outcome in the public sphere. <br /><br /> These two terms, historically nested within the intensities of the American, French, and Haitian Revolutions, resistance to all forms of class, race, and gender hierarchies, and resistance to a culture of bourgeois acquisition, form a groundwork for a mind generative of critical and expansive experiments at times in Romantic poetry itself but more visibly and systematically in subsequent poetic movements. <br /><br /> Challenging the Enlightenment subordination of “sense” to “reason” as the ideal of mental activity and at the same time, on the side of the work of art, to the subordination of “content” to abstract “form,” the play-drive suffuses reason with sense and affect while art under its influence becomes a “living shape” or form (lebendige Gestalt). Experimental artists have knowingly or not taken Schiller most seriously here, and systematically, working from within the nexus of the sensuous mind, material, and form, not “above” it, to produce art that discovers its form as it proceeds (Coleridge’s “form as proceeding”). For them, it operates with an alertness of the senses and the fanci-ful play of the mind to let things into its domain by chance, which often startles in its results. <br /><br /> Careful to distinguish art from reality and yet intent on the former’s direct influence on the latter, the post-French-revolutionary Schiller considers art to come into being as a supplement, a “free appearance” that “educates” through its strangeness: non-possessive. <br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><br />synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-50593885045328010432024-01-23T10:21:00.002-08:002024-03-08T11:13:20.649-08:00Objects and bodies have a radiance all their own / NICK BLINKO<p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgbVB4HT0OM_TPAf7OVfLcVr_gExbFnfgsXbSHViw6yi6hB5Qu2l79ZB0TH8qgAbjKL5sViTcnMPVC6YpZwQ_7QLEtaBH5q742dynmpbk-t4pp-qmfAgKxcCXAZfad1A_QxzGKjZlrGdyRKiy6HBd_WM7uHgwzWTxXB5qP3WTx1aeBvSn0JPE3TKGFmOg/s865/Screen%20Shot%202024-02-27%20at%2019.30.14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgbVB4HT0OM_TPAf7OVfLcVr_gExbFnfgsXbSHViw6yi6hB5Qu2l79ZB0TH8qgAbjKL5sViTcnMPVC6YpZwQ_7QLEtaBH5q742dynmpbk-t4pp-qmfAgKxcCXAZfad1A_QxzGKjZlrGdyRKiy6HBd_WM7uHgwzWTxXB5qP3WTx1aeBvSn0JPE3TKGFmOg/w450-h640/Screen%20Shot%202024-02-27%20at%2019.30.14.png" width="450" /></a></span></div><span style="font-family: georgia; font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBHeJvJekVa2i1eNYspnoUsVnWr-E8h5cJeCEYVIHVZSXt0snpJ5BKfA4tdxC5E834GkJsxxdTDXs5WBsYSPkgaygPap0sLr8wmQyu_6MKZZZ-_FEr25yG0p0r2TbdrQKEwzF0O5M5HlYMe34vfDTVmYrcSqwSOrrbCeN9aPJMHZBObfwl0DMKeOyBzg/s964/Screen%20Shot%202024-02-27%20at%2019.31.09.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="964" data-original-width="668" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBHeJvJekVa2i1eNYspnoUsVnWr-E8h5cJeCEYVIHVZSXt0snpJ5BKfA4tdxC5E834GkJsxxdTDXs5WBsYSPkgaygPap0sLr8wmQyu_6MKZZZ-_FEr25yG0p0r2TbdrQKEwzF0O5M5HlYMe34vfDTVmYrcSqwSOrrbCeN9aPJMHZBObfwl0DMKeOyBzg/w444-h640/Screen%20Shot%202024-02-27%20at%2019.31.09.png" width="444" /></a></div></span><p><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br />ABOVE & BELOW:<br />Untitled, by Nick Blinko<br />Ink on card<br />Images courtesy <a href="http://www.outsiderart.co.uk"><span style="color: #cc0000;">Henry Boxer Gallery</span></a><br /><br /><br /><br /><br /></span></p><h3 style="text-align: left;"><div><span style="font-family: georgia; font-size: medium;">The sentence introducing a dream vision in Nerval’s Aurelia follows this one: “As everybody knows, on</span><span style="font-family: georgia; font-size: medium;">e never sees the sun in one’s dreams, even though one is often aware of a light far more luminous.” A radical shift of perspective, from Copernicus to objects, which is to say, what we expect and accept as given, carries with it a basic principle of radical Romanticism, to find energy elsewhere, to find sources of illumination where one expects, at best, to encounter reflected light. It takes oneiric states of mind to reveal this truth. (“travel with ghosts”—Gerry Loose)</span><span style="font-weight: normal;"><span style="font-family: georgia;"><br /><br />In Wordsworthian Romanticism consciousness of the radiance of objects wraps around it consciousness of the all too prevalent wish to possess, even to destroy, it:</span></span></div><div><span style="font-weight: normal;"><span style="font-family: georgia;"><br /></span></span></div><div><span style="font-weight: normal;"><span style="font-family: georgia;">“A very hunter did I rush / Upon the prey [the butterfly]:--with leaps and springs / I followed on from brake to bush; / But she [his sister], God love her, feared to brush / The dust from off its wings.” </span></span></div><div><span style="font-weight: normal;"><span style="font-family: georgia;"><br /></span></span></div><div><span style="font-weight: normal;"><span style="font-family: georgia;">Here that wish to possess is testosterone, but the social analysis of Wordsworth and Keats reveals a social source: capitalism and its modern neighbours colonialism and imperialism. A four-way intermixture of persons and things (non-human) makes up the whole: loving attention and suspicion and possessiveness in the subject along with the simultaneous permanence and precariousness of object radiance appears in this poem by the Scottish poet Gerry Loose:</span></span></div><div><span style="font-weight: normal;"><span style="font-family: georgia;"><br />how delicate the dove<br />at the river’s edge<br />quenching a thirst<br />relentless<br /> [half-arrows, one over the other, in opposite directions, as a divider]<br />I’m just going along<br />noon naming some of<br />her names<br />not stepping on<br />that one<br />neòinean<br />enduring beauty<br />danger of death<br />forty thousand volts<br /><br /><br /><br /></span></span></div></h3><p></p><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-family: georgia; font-kerning: none;"></span></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTpBXwC_Qq95Fu8mQwVNQbNvX4dop0VnN_CrTHqgl1sMWcBmmLQY9F_LDXIgrWqVLcR3HE1sMbY-YyqTcTc1jSMvMHDbSm8Fi69TKbDGXk5oODinu6j4F4wvO-djLDbIQesX5t41R9GYHFvkX9QoHndRvenmEnzdHcLv1v22aJvZQ0P7Th-QdZsxwk4xs/s3784/IMG_4684.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="2838" data-original-width="3784" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTpBXwC_Qq95Fu8mQwVNQbNvX4dop0VnN_CrTHqgl1sMWcBmmLQY9F_LDXIgrWqVLcR3HE1sMbY-YyqTcTc1jSMvMHDbSm8Fi69TKbDGXk5oODinu6j4F4wvO-djLDbIQesX5t41R9GYHFvkX9QoHndRvenmEnzdHcLv1v22aJvZQ0P7Th-QdZsxwk4xs/w640-h480/IMG_4684.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /><span style="font-size: medium;"><br /></span></span><p></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"><i></i></span><br /></span></p></div><span style="font-family: georgia;"><br /><br /><br /></span><br /></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-81673426788883013092024-01-23T10:16:00.000-08:002024-03-19T08:16:48.821-07:00 Negative Capability / RACHEL BLAU DUPLESSIS<p><br /></p><p><br /></p><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj57YdsiWXTymU_zARDVZWKZQsoTZ7xZVIkyaHPB3Q4Kv3kWnLSt7E9QZdJOS2oF5XnRw5nCXLrbEhP3VIqv8no8aviWj7uHzN0zIq1xao2S186kxEsrgstz_PWSMeoRCGG9LyJCjqK783MhlMCnFdXOFQcQr7tXGX-EHDVW1B-oJiSS0jC0-7pLjM8c/s2883/P.400dpi%202.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: georgia; font-size: medium;"><img border="0" data-original-height="2883" data-original-width="2041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj57YdsiWXTymU_zARDVZWKZQsoTZ7xZVIkyaHPB3Q4Kv3kWnLSt7E9QZdJOS2oF5XnRw5nCXLrbEhP3VIqv8no8aviWj7uHzN0zIq1xao2S186kxEsrgstz_PWSMeoRCGG9LyJCjqK783MhlMCnFdXOFQcQr7tXGX-EHDVW1B-oJiSS0jC0-7pLjM8c/w454-h640/P.400dpi%202.jpg" width="454" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="background-color: white; border: 0px; color: #242424; font-family: "Segoe UI", "Segoe UI Web (West European)", "Segoe UI", -apple-system, system-ui, Roboto, "Helvetica Neue", sans-serif; font-size: 15px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></div></td></tr></tbody></table><span style="font-family: georgia; font-size: medium;"><br /><br /><br />ABOVE:<br /><br />"P" from the abecedarium "Draft CX : Primer" by Rachel Blau DuPlessis. Reprinted by permission; © by DuPlessis, 2023. All rights reserved.<br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">“... that is when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason—Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge” (John Keats, December 1817). </span></h3><span style="font-family: georgia; font-size: medium;"><br />Radical poets insist that the state of mind in Negative Capability (his “enormously useful idea,”—Rachel Blau DuPlessis) must be understood in terms of and related to its outcome in the world, and in poetry itself. The poet of these poems writes not out of ordinary consciousness but in a heightened state of connection to life first as motion and second as participating in the present; the poet is anything but disinterested but immersed in the reality that includes the poem. As the Swedish poet Gunnar Harding put it, with reference to Negative Capability: “But uncertainty too can be a poetic method: to try to find your way from something you merely sense to something you don’t yet understand.” In contrast to the conventional notion of disinterestedness towards, usually interpreted as distance-from, an object, required in Negative Capability, the poet Charles Olson said, ““I do better to stay in the condition of things. No matter what it amounts to, mystery confusion doubt, it has a power. It is what I mean by Negative Capability.” Olson’s contemporary Robert Duncan, a self-acknowledged twentieth-century Romantic, brings the mind of the poet and the poem itself into necessary conjunction: “With the Romantic movement, the intellectual adventure of not knowing, of “Negative Capability,” Keats called it in poetry, returns. The truth we know is not of What Is, but of What Is Happening.” “For [Robert] Duncan, ‘a poem moves’ when the poet begins ‘to feel the pattern’ of ideas and images release ‘the patterning they are true to, the melody they belong to. Once this feeling of a patterning begins, the work comes to one’s hand; the form of the whole can be felt emerging in the fittingness of each passage’. When this happens he finds he is ‘no long thinking or proposing ideas but working with them.” The phrase “Negative Capability,” because it acknowledges the world as a place of mystery, does not immediately predict what a poem, itself part of that world, will look like. This uncertainty of poesis stems from a perception that the poet is immersed in poem and world and is expressed through various “imperfections” in writing itself—as if “perfection” would indicate certainty that for Keats equates with acceptance of political and ideological status quo.<br /><br />In his letter, the formulation of Negative Capability emerges from cultural and political critique—resistance to academic art (Benjamin West) and preference for the “low company” of the Shakespearian actor Kean to the fashionable crowd. Negative Capability in an artist grows out of a rejection of ego associate with the complacency accompanying societal success.<br /><br />Uncertainty seeps into poems as out and out expression of loss of, loosening control over, form and language that mirrors the perceived existential condition. Centrally, poems of Negative Capability are unpossessable; to invoke Mallarmé’s Un Coup des Dés, they resist mastery of the conscious poet over the poem as it is composed. They show signs that they move of their own accord; they “deviate” (Hazlitt, Keats); they reflect “imperfect fit,” excesses of sounds.<br /><br />What is a good poem?—Keats concludes, “This pursued through Volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.” “Beauty,” sensuous, deep and ungraspable, arises from a capability, a discipline in letting go of the ego and its productions: a sensuous othering of the imagination on the page, the presentation, in poetry, of a gap in graspable knowledge.</span>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-19682031189461510292024-01-23T10:15:00.001-08:002024-03-19T10:37:34.258-07:00Master(y) / JESSICA PUJOL DURAN<div><span style="font-family: georgia;"><span style="font-size: medium;"><br /><br /><br /><br /></span></span></div><div><span style="font-family: georgia;"><span style="font-size: medium;"><b>sea o(h) mother</b><br /><br /><br /><br />that's what we say<br /><br />sea o(h) mother<br /><br />sea that if you look you see waves<br /><br />waves that if you look you see rocks<br /><br />rocks rocks<br /><br />eroded<br /><br />rock wave rock wave rock wave<br /><br />eroded<br /><br />all this sea<br /><br />all this say if you look you see waves<br /><br /><br /><br /><br />Radical Ro</span><span style="font-size: medium;">manticism rejects the idea of the poetry master as one fully in charge of (usually) his materials and the fulfilment of intentions. The poet of Romantic manifestos lives in “uncertainties mysteries doubts” on the one hand, and on the other, praises poetry that discovers itself in the process of its making. If a poet is a “man speaking to men” (sic), then no one should be anyone else’s master. In Mallarmé’s Un Coup des Dés, the master drowns and the starry constellations are revealed. At times the “master” seems to indicate expanse and extent of vision, a hope for the conscious, celebratory presence of the subject flowing through the world, also participation and improvisation. “I lean and loafe at my ease observing a spear of summer gra</span></span><span style="font-family: georgia; font-size: medium;">ss” (Whitman), or Adam Mickiewicz more spectacularly: “I am the master! I stretch forth my hands, even to the skies! I lay may hands upon the stars, as on the crystal wheels of the harmonica. Now fast, now slow, as my soul wills, I turn the stars. I weave them into rainbows, harmonies. I feel immortality! I create immortality!”</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">ABOVE & BELOW</span></div><div><span style="font-family: georgia; font-size: medium;">Mare, by Jessica Pujol Duran</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSLwWCjZ0f6v5OrnDhyphenhyphenBk4sIApNenGmK7CI3EVOdPvuicf-YMKt3P45i4ucsaVtXrj3EYeE9_7_SNKUsqyM3ljPoPHs6bPGFGg-aj8oM0xwb95F1dm-7Go5Nvtm9sbGjzs37GnnRzFjsRzYTdqN9KwKYXE84F8AMz0Uf86goC4ro5NfwFs2uumdSyRz-U/s800/Screen%20Shot%202024-03-19%20at%2015.11.39.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="488" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSLwWCjZ0f6v5OrnDhyphenhyphenBk4sIApNenGmK7CI3EVOdPvuicf-YMKt3P45i4ucsaVtXrj3EYeE9_7_SNKUsqyM3ljPoPHs6bPGFGg-aj8oM0xwb95F1dm-7Go5Nvtm9sbGjzs37GnnRzFjsRzYTdqN9KwKYXE84F8AMz0Uf86goC4ro5NfwFs2uumdSyRz-U/w244-h400/Screen%20Shot%202024-03-19%20at%2015.11.39.png" width="244" /></a></div><br /><span style="font-family: georgia; font-size: large;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-22880282826496847602024-01-23T10:14:00.001-08:002024-03-08T11:25:21.683-08:00Imagination, or Reason in its most exalted mood / MEHRDAD RASHIDI<div><span style="font-family: georgia; font-size: large;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div><div><span style="font-family: georgia; font-size: large;"><br /></span></div><h3 style="text-align: left;"><span style="font-family: georgia; font-size: large;">"Imagination, or Reason in its most exalted mood"<br /></span><span style="font-family: georgia; font-size: large;">(Wordsworth)</span></h3><span style="font-family: georgia;"><h3 style="text-align: left;"><br /></h3><div><br /></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwR9OwV6q9j_mOvL6QRC1FClEoNkhNHvJ0wikCEKwFGVMrIyCDOd7h1-y8IUWLDf542qPlmJMTi6v5YdfMgoJ0RP8lCa8piN_GWeY95PzkLwkUOb10bU6pC337sWJL1T9HkmSD3Z_gno-Ps6agqxu31-KDe1vVzYxIv4ccSKSdlE7jxW1vDUZOq1gTSA/s4032/IMG_3766%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwR9OwV6q9j_mOvL6QRC1FClEoNkhNHvJ0wikCEKwFGVMrIyCDOd7h1-y8IUWLDf542qPlmJMTi6v5YdfMgoJ0RP8lCa8piN_GWeY95PzkLwkUOb10bU6pC337sWJL1T9HkmSD3Z_gno-Ps6agqxu31-KDe1vVzYxIv4ccSKSdlE7jxW1vDUZOq1gTSA/w300-h400/IMG_3766%20(1).jpg" width="300" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><h3><span style="font-size: large;"><span style="font-family: georgia;">“Imagination is eternity”<br /></span><span style="font-family: georgia;">(Blake)</span></span></h3><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;">ABOVE</span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;">Untitled, Mehrdad Rashidi</span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;">Ink on paper</span></div><div style="font-size: large;">Images courtesy <a href="http://www.outsiderart.co.uk"><span style="color: #cc0000;">Henry Boxer Gallery</span></a></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="font-size: large;"><br /></div></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Vicente Huidobro distinguishes between “cold reason” and that which “at the moment of the poet’s travail is in unison with the warmth of his soul.” Reason doesn’t dampen the imagination but helps to shape it, give it, we might say, not unity but coherence. Reason is opposed to the “horrible official stamp of approval,” and keeps the channels of passion and vision open as a steady esoteric current. </span></h3><div><span style="font-family: georgia; font-size: medium;">From a different angle, “reason” can transport “theory” to poetry, giving it a visionary rationale for its way of being, a poetics. It is popular today to insert thought back into poetry, but in Romantic poetry, thought drives and defines critique, a vision of betterment, a social agency. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">Thought of this kind flattens the mental apparatus by torquing it with sensation stimulated by the density and shapeliness of poetic language, wresting it from familiarity and consolation: “thought’s torsion” (Louis Zukofsky). Reason, as the “outward bound and circumference of Energy” (Blake), brings thought to the hammering out of form. Blake, too, captures the overriding thesis of these manifestos that poetry can liberate us from narrow, destructive understanding of contemporary reality: “Imagination is eternity.”</span></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-49832641158628825282024-01-23T10:14:00.000-08:002024-03-08T11:24:42.881-08:00 I MUST Create a System or be enslav’d by another Man’s . . . / GEORGE WIDENER<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aqj6LvW9DL0pVYU6P0U9jT6126r1YLu5rc8G3jJQ_VBYWXFfmvnJDiThIuzCABTwKKqQP2MjvdgqX7Ey88HvhxyFJiYNfln_IKqjChHysK-Bpq1Nis4ytE5z4t7t_1jFwdfB_GJkPqquF77Co9zQB604oRQvji8Nqh6aTgi8o8S-L-q_tOUb-QCnfmo/s920/Screen%20Shot%202024-02-27%20at%2019.11.01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="605" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aqj6LvW9DL0pVYU6P0U9jT6126r1YLu5rc8G3jJQ_VBYWXFfmvnJDiThIuzCABTwKKqQP2MjvdgqX7Ey88HvhxyFJiYNfln_IKqjChHysK-Bpq1Nis4ytE5z4t7t_1jFwdfB_GJkPqquF77Co9zQB604oRQvji8Nqh6aTgi8o8S-L-q_tOUb-QCnfmo/w420-h640/Screen%20Shot%202024-02-27%20at%2019.11.01.png" width="420" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-family: georgia; font-size: medium;">ABOVE</span></p><div style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">George Widener <span color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">CYBORG</span></span></div><div style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">ink & crayon on found paper</span></div><div style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">Images courtesy <a href="http://www.outsiderart.co.uk" target="_blank"><span style="color: red;">Henry Boxer Gallery</span></a></span></div><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Blake evinces the defiance, insistence, and anxious vision of the radical Romantic, and perhaps an element of the paranoia sweeping along a visionary poet’s adherence to the reality principle. Another man’s or woman’s system always is hovering over creativity, always needs to be overcome; “another Man’s” system may horrifically become one’s own just after it has been created.</span></h3><p><span style="font-family: georgia; font-size: medium;">Note that it is a system, not a poem, that needs creating, a set of inter-related principles, a theory that ranges wide in its relevance and can act powerfully in changing environments; it can guide the making of a poem according to principles beyond the poem’s own precinct. Blake’s cry suggests that there are only systems; there is no outside.</span></p><p><span style="font-size: medium;"><span style="font-family: georgia;">In the next line, “I will not Reason and Compare: my business is to Create,” reason is “cold reason,” that excludes and purifies; to compare is to be satisfied with an existing system: “a” and “b” taken together (in metaphor and simile) assume the same bedrock of perspective. The history of modern innovative poetry traces a loosening of reliance upon </span><span style="font-family: georgia;">metaphor. “my business is to Create” is not a juxtaposition of two very different realities occupied by the same person whose art requires simultaneous acknowledgement of capitalism and imagination, neither submitting to the other but perhaps constructing, at least for an instant, a better, less oppressive, system. “Another system” assumes reaction against an existing one that may hover visibly beneath its dramatic realignment.</span></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><div style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div dir="ltr" style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">George Widener writes:</span></div><div dir="ltr" style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br aria-hidden="true" /></span></div><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">This 'Androgynous Portrait' is a vision of a futuristic mechanical cyborg entity drawn on a rare 19th century paper used at Brooklyn iron works.</span></span></div><div class="separator" style="clear: both;"><div style="background-color: white; border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br aria-hidden="true" /></span></span><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">Hence my thoughts of a different time being superimposed on future time.</span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br aria-hidden="true" /></span></span><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;">The dates are 1860/70's, then jump forward to 2260/70's - when cyborgs are real.</span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">BELOW</span></p><div style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: inherit; font-family: georgia; font-size: medium;">George Widener '<i>Long Engine No1'</i>. </span></span></div><div style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: inherit; font-family: georgia; font-size: medium;">Ink on found paper </span></span></div><div data-setdir="false" dir="ltr" style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: inherit; font-family: georgia; font-size: medium;">Henry Boxer Gallery Collection</span></span></div></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div><div style="border: 0px; color: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></div></div></div></div><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; 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text-align: center;"><br /></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span style="font-family: georgia; font-size: large;"><br /></span></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-6200544988121763232024-01-23T10:13:00.000-08:002024-03-08T11:24:26.636-08:00 Fragment: the Hedgehog / PATRICIA FARRELL<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKmngHKMqZP3H9iguO_NwTLrqypIJlX1wDAYYamsAtxStVcoA9yz83TH1bmwu8UWQSxPXpa94Lwi4UUJg2-uZf0HCzb2KEVaRvDYToxjwdF3UnE_7GXZK2BJcxCYz9ip_ytqUn_ckvRlh4SfqjdhvnRkxAh0pvZ4hyO8EQJPlJ9-XDMY5uQ6hjlcpXPI/s1288/urchin%201a%20cut%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1288" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKmngHKMqZP3H9iguO_NwTLrqypIJlX1wDAYYamsAtxStVcoA9yz83TH1bmwu8UWQSxPXpa94Lwi4UUJg2-uZf0HCzb2KEVaRvDYToxjwdF3UnE_7GXZK2BJcxCYz9ip_ytqUn_ckvRlh4SfqjdhvnRkxAh0pvZ4hyO8EQJPlJ9-XDMY5uQ6hjlcpXPI/w167-h320/urchin%201a%20cut%203.jpg" width="167" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSkLR8l6XSA-N661_uId27Y2DhFdWR9tp2YIU6wW0K5Yk-qmNx8a3hZVwlokZ7Bb8Cb1wqMqZtZHD0SzK5WSxlTL_y8gquAidQrutGE-jt7jxqTNx_NPPXvNPBo8ZYdU3NCtyOqyLDBcBD7Rw0byQJTq-iv2pvNzLvkwMUMwOOtHD8AgRD4L3h1XpJqY/s6450/urchin%202a%20cut%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6450" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUSkLR8l6XSA-N661_uId27Y2DhFdWR9tp2YIU6wW0K5Yk-qmNx8a3hZVwlokZ7Bb8Cb1wqMqZtZHD0SzK5WSxlTL_y8gquAidQrutGE-jt7jxqTNx_NPPXvNPBo8ZYdU3NCtyOqyLDBcBD7Rw0byQJTq-iv2pvNzLvkwMUMwOOtHD8AgRD4L3h1XpJqY/s320/urchin%202a%20cut%204.jpg" width="149" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lunx9B14FY3KMpH4dDDkP51JVrS3BIlCiPVXQ0CokeTkf7IyJyZRXucq7SxTk3CSGo6uGEtpup_Yg1gr0ABkv7nxCgpwLvJy-y2MUrHBvhXNikcRgBWLxJzc5SCh4nZmSEnvMq3bk2hbl7_T9J6DdgKVRV92LlGYGdsaF2x4Xc5VNzp8rT3P4h1QjII/s6450/urchin%203a%20cut%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6450" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lunx9B14FY3KMpH4dDDkP51JVrS3BIlCiPVXQ0CokeTkf7IyJyZRXucq7SxTk3CSGo6uGEtpup_Yg1gr0ABkv7nxCgpwLvJy-y2MUrHBvhXNikcRgBWLxJzc5SCh4nZmSEnvMq3bk2hbl7_T9J6DdgKVRV92LlGYGdsaF2x4Xc5VNzp8rT3P4h1QjII/s320/urchin%203a%20cut%204.jpg" width="149" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p><p><br /></p><p><span style="font-family: georgia; font-size: medium;">ABOVE/BELOW</span></p><p><span style="font-family: georgia; font-size: medium;">Urchins by Patricia Farrell, 2023</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">“A fragment, like a miniature work of art, has to be entirely isolated from the surrounding world and be complete in itself like a porcupine” (Schlegel, Athenaeum Fragment 206). </span></h3><p><span style="font-family: georgia; font-size: medium;">The German word, Igel, actually means “hedgehog,” a creature less aggressive than a porcupine yet still with sharp quills that keep intruders at bay. The isolation and completeness upon which Schlegel insists does not equate to our usual notion of closure, with its suggestions, through language and formalism, of finality. The quills tell us that the hedgehog is defined by its ability to resist—a hedgehog-poetry resists the familiar and the intrusion of the values of commodity culture. The fragment predicts a future, or aperture. “Archaic Torso of Apollo” describes a fragment (torso) the brokenness of which has now been perceived as a new whole that incites a proposition for the future: You must change your life. Closure means the end to the poetic event; aperture directs you forward beyond the event. John Clare ends a sonnet, “Emmonsail’s Heath in Winter,” with the words start again—words that contradict the closural appearance of the sonnet. Keats ends his “Ode to Psyche” with a future vision of aperture for Cupid and Psyche, “a casement ope at night,” for Cupid to return endlessly to his beloved, “To let the warm Love in.”</span></p><p><span style="font-family: georgia; font-size: medium;">“To write the fragment is to write fragments.” When something breaks apart, it breaks into more-than-one. Conversely, one future of the fragment is the next one and then the next one. The fragment predicts seriality: it “starts again,” the same as before only a bit different. The fragment contains an open temporality, a continuum of the imagination.</span></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87yS9FQINXmLLwknftLD7EnQD-6uUHECivs-u61D1OgHE_qKzfNFh4RQJIBfIFvsT8kLcNr4raSJd6ifPqRVv_C17Gw7cJAzIKZW5w8dKVM_n9D1Fmz940vh7rm37Y9kCxtIAWUPXG5WlB0s21RIIKaD1tUhQLuio9PdUZ9dxUO2m2MfDpIHrUCid_oE/s3150/urchin%201a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3150" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87yS9FQINXmLLwknftLD7EnQD-6uUHECivs-u61D1OgHE_qKzfNFh4RQJIBfIFvsT8kLcNr4raSJd6ifPqRVv_C17Gw7cJAzIKZW5w8dKVM_n9D1Fmz940vh7rm37Y9kCxtIAWUPXG5WlB0s21RIIKaD1tUhQLuio9PdUZ9dxUO2m2MfDpIHrUCid_oE/s320/urchin%201a.jpg" width="183" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif8g_r6teIr-Tr4wXccLAqZo8yqrMiIHt_UJJA6wPtsWN7zgvfeENkTQ6yOJvqzTlGaY-teJ6kqWhX9-w8vmmFwCbV2aVR7xLiEyU4yRmgC6FC_dcOMgwNixY3A00ZkyOFb1BAMHx6IK5Tfzg_VlBbv46SysxsxppvMQ1FjaVw1uL6_zfJa24oMZ79NB8/s3150/urchin%202a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3150" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif8g_r6teIr-Tr4wXccLAqZo8yqrMiIHt_UJJA6wPtsWN7zgvfeENkTQ6yOJvqzTlGaY-teJ6kqWhX9-w8vmmFwCbV2aVR7xLiEyU4yRmgC6FC_dcOMgwNixY3A00ZkyOFb1BAMHx6IK5Tfzg_VlBbv46SysxsxppvMQ1FjaVw1uL6_zfJa24oMZ79NB8/s320/urchin%202a.jpg" width="183" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEWHyTEBEyrEOLvcQwoTClRD4hsnyuZCXfNw0EPW-EgOyHyHJtkEiqrYPAftSEmrBeMVgJ1M9g0hXLHnvINyhKOzBERZWTdNARe-gTHogOG3Wr_phFwM9LkU5vygxrA6UtiV2C8g8gy6O7U3pu8eYx9FPaLdMPSYlm9sUuYTXflXjJsG6wRXwLiqM1pY/s754/urchin%203a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="428" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEWHyTEBEyrEOLvcQwoTClRD4hsnyuZCXfNw0EPW-EgOyHyHJtkEiqrYPAftSEmrBeMVgJ1M9g0hXLHnvINyhKOzBERZWTdNARe-gTHogOG3Wr_phFwM9LkU5vygxrA6UtiV2C8g8gy6O7U3pu8eYx9FPaLdMPSYlm9sUuYTXflXjJsG6wRXwLiqM1pY/w182-h320/urchin%203a.jpg" width="182" /><span style="color: white;"> </span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFnRjRJVRmPU2lOVv5rfXpypxpvWrE6kNYhCb3ULBqi00eYJCFce6643jCV8pRu7irTc7z8kZSrD7Z6zkuUEt8hMVPZhdVk8voQCGBWTkvYdSSQE_b4J-qiahQOdJGTCBdMgR8u9FkwypM-jzuAbwo1dKqmG3u5ExQdwwKPIYDjSGVwE9Ap4VJmfIW8uY/s6450/urchin%203a%20cut%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6450" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFnRjRJVRmPU2lOVv5rfXpypxpvWrE6kNYhCb3ULBqi00eYJCFce6643jCV8pRu7irTc7z8kZSrD7Z6zkuUEt8hMVPZhdVk8voQCGBWTkvYdSSQE_b4J-qiahQOdJGTCBdMgR8u9FkwypM-jzuAbwo1dKqmG3u5ExQdwwKPIYDjSGVwE9Ap4VJmfIW8uY/w178-h320/urchin%203a%20cut%205.jpg" width="178" /></a><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></div><p><br /></p><p><br /></p><p><span style="font-family: georgia; font-size: medium;">Imagine the “creative process”: the originally whole object conforming to a commanding given (the Archaic statue of the all-reasoning Apollo with his head on) is then broken, the customary, tyrannizing, ideological source vanquished, and a vision of a new whole is transformed out of a fragment with a future not based on hierarchies. This is the meaning of Blake’s and other poets’ notion of poesis as double: creating and destroying. Creating can be multiple, destroying acts against the given. Like a hedgehog—such a bizarre and surprising analogy!—a poem continues to make, unmake, and remake itself, and the reader needs to attune to the process. The hedgehog is an argument against the canon.</span></p><p><span style="font-family: georgia; font-size: medium;">A (German Romantic) fragment, though supposedly incomplete and thus “open,” actually, like a hedgehog protecting itself from the chance intrusions of the world, is closed. In fact, a (verbal) fragment has only a beginning and an ending that nonetheless is “our only access to the infinite” (Jabes) and lets in an infinite number of voices, allows for superimpositions from radically different domains. Paradoxically, the hedgehog’s sharp needles insures its autonomy but as resistance; a fragment poem defined thus acknowledges its being as a social and political act. The needles are also rays emanating from the knowledge center that is the fragment.</span></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0H_1tFIpxvrP5_oY35ErAaE90_Pm5tZoDhfAcRdoHLqsREqq4xbifqiJOd4gmpHbYCsEXtLg0BGw6c9wPGxx5T30xF-WOQ3XBWLaUuL6xIiF2Bhm0N4x4L1-dTeY5fNWIfJhEts8ObdNTjwjMr7X8JLy7LJQMn21u7GsIkakMouEXg4DXbbOWW7zYyFs/s6450/urchin%203a%20cut%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6450" data-original-width="3000" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0H_1tFIpxvrP5_oY35ErAaE90_Pm5tZoDhfAcRdoHLqsREqq4xbifqiJOd4gmpHbYCsEXtLg0BGw6c9wPGxx5T30xF-WOQ3XBWLaUuL6xIiF2Bhm0N4x4L1-dTeY5fNWIfJhEts8ObdNTjwjMr7X8JLy7LJQMn21u7GsIkakMouEXg4DXbbOWW7zYyFs/w400-h256/urchin%203a%20cut%205.jpg" width="400" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><span style="font-family: georgia; font-size: medium;">Patricia Farrell writes:</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">URCHIN </span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><i>‘Matter feels, converses, suffers, desires, yearns and remembers.’</i> </span></p><p><span style="font-family: georgia; font-size: medium;">(Karen Barad)</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">A barbed hedgehog. A perverse and raggedy child (who calls out the Emporer). An adjacency. A juxtaposition. A visitation.</span></p><p><span style="font-family: georgia; font-size: medium;">The word ‘disintegrate’ asserted itself in an unhinged, hynagogic moment. Not as a verb. But as a noun. ‘The disintegrate’. And calmed me, rolled into a spiny ball, primed to unfold diffracted dreaming.</span></p><p><span style="font-family: georgia; font-size: medium;">What falls. Apparatuses for perplexing the mundane surface. Finding itself and turning. A palimpsest of peculiarities. Barad’s ‘agential cuts’. Rosmarie Waldrop’s ‘splice of life’.</span></p><p><span style="font-family: georgia; font-size: medium;">A road I meant to look for when I thought I could. But (see I have the photograph) I have already happened on it.</span></p><p><span style="font-family: georgia; font-size: medium;">Open your mouth and out pops a universe. Every utterance an answer. Incompossible and imperative. Lyotard’s ‘Müssen not Sollen’, ‘linking the unlinkable’. The must of radical politics. Contra the ought of the orthodox.</span></p><p><span style="font-family: georgia; font-size: medium;"><i>‘Fuck it. Next time they shoot us, we’ll refuse to die. Its raining again. Give me a cigarette.’</i> </span></p><p><span style="font-family: georgia; font-size: medium;">(Sean Bonney)</span></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-78850619607189484992024-01-23T10:12:00.000-08:002024-03-08T11:24:01.251-08:00Fragment: Coherence over Unity / JON SARKIN<p><span style="font-family: georgia; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2WP-jr4ir_bPZ1GTR0DfqOsM89-mxxjpczEus-3_s6UN2sl3IQepZ1Rj3-i0W1wbN2CYNKZrPJUGfJLLf17JSo1rTsNUBHWGEozy8LGYtfVV_esBlUI-_JX1v47CxTpdqQXvGVbExVsd-siqCZ3cPWBSgjgVlHAtJhjNVxLp5x3-ZSpM5_gRGK3cX3I/s1341/Screen%20Shot%202024-02-27%20at%2020.04.19.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1341" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2WP-jr4ir_bPZ1GTR0DfqOsM89-mxxjpczEus-3_s6UN2sl3IQepZ1Rj3-i0W1wbN2CYNKZrPJUGfJLLf17JSo1rTsNUBHWGEozy8LGYtfVV_esBlUI-_JX1v47CxTpdqQXvGVbExVsd-siqCZ3cPWBSgjgVlHAtJhjNVxLp5x3-ZSpM5_gRGK3cX3I/w640-h430/Screen%20Shot%202024-02-27%20at%2020.04.19.png" width="640" /></a></span></div><span style="font-family: georgia; font-size: medium;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span><p></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">ABOVE/BELOW</span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">Untitled, by Jon Sarkin, circa 1998</span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">Ink on found card</span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">Images courtesy <a href="http://www.outsiderart.co.uk" target="_blank"><span style="color: #cc0000;">Henry Boxer Gallery</span></a></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87WukmEDNMR_VuRsX-CfFlgjLzsH_9XtUrKeRoleTCw8Xpsmqn9iPb-vKzV7NeytAqWkzTGMaDCPTagGdN14eipuaohU6NnYMf9ve4QLzRjfPfK1aOviR61-RTZBowBNuWnU4bo4RrMdCZYJ260ZGW8pKAuRZZFQwDJ-rsqv-uGf8qe12QBbA1YRnp2Q/s948/Screen%20Shot%202024-02-27%20at%2020.03.42.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="678" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj87WukmEDNMR_VuRsX-CfFlgjLzsH_9XtUrKeRoleTCw8Xpsmqn9iPb-vKzV7NeytAqWkzTGMaDCPTagGdN14eipuaohU6NnYMf9ve4QLzRjfPfK1aOviR61-RTZBowBNuWnU4bo4RrMdCZYJ260ZGW8pKAuRZZFQwDJ-rsqv-uGf8qe12QBbA1YRnp2Q/w458-h640/Screen%20Shot%202024-02-27%20at%2020.03.42.png" width="458" /></a></span></div><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span><p></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><p><span style="font-family: georgia; font-size: medium;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"><br /></span></span></p><h3 style="text-align: left;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; font-size: large;">Says Friedrich Schlegel: “Many works that are praised for the beauty of their coherence have less unity than a motley heap of ideas simply animated by the ghost of a spirit and aiming at a single purpose.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; font-size: large;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; font-size: large;">What really holds the latter together is that free and equal fellowship in which . . . the citizens of the perfect state will live at some future date . . . .”</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; font-size: large;"> </span></h3><p><span style="font-family: georgia; font-size: medium;"><i style="-webkit-text-stroke-color: rgb(0, 0, 0);">Bunte</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0);">Haufen</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"> (miscellaneous mix of colors, heap) can mean the social “masses” that artists of a democracy are drawn to include, and </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0);">Einfällen</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0);"> (ideas) connotes a flash of insight, wit (</span><i style="-webkit-text-stroke-color: rgb(0, 0, 0);">Witz</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">), and the fancy.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">Schlegel’s “unity” presupposes a poet completely in control of the poem’s construction, a poet, he confesses, who is sorely drawn to the lure of unity as control, which inevitably produces homogeneity or as Coleridge said, “reconciliation of opposite and discordant qualities.”</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">“Coherence” necessarily lets some of that control go, imagines and encourages techniques for granting parts of an artwork their independence, just as democracy strives to give prominence to the diversity of its citizens.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">Opposites and discord, juxtapositions, contradictions emerge in bright colours with “coherence.”</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0);">In the art of democracy the poet restores a load of discarded experience and holds it together with whatever threads can be found. </span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0);"> </span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Schlegel’s principle of coherence justifies poetry of aperture, of open form, and suggests its method: anything is permitted in, which is the way the world is, full of unpredictable, contradictory, desirable and undesirable elements, parts of elements, and references to things. <span class="Apple-converted-space"> </span>The poem’s coherence becomes anything that can hold everything together, something concocted on the spot.<span class="Apple-converted-space"> </span>An asymmetry in which the poet acts as facilitator, watching for a new planet to swim into its ken (Keats’s “On First Looking into Chapman’s Homer”).</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;">This formulation for Romantic poetics of democracy begins with an acknowledgement of the world as full of difference, the heterogeneous, that must be revealed and then apprehended. . . coherently, that is, as a work of art.<span class="Apple-converted-space"> </span>Do we “dare frame” (“The Tyger”) this jumble that is reality?<span class="Apple-converted-space"> </span>Poems following Schlegel risk incoherence as well as severe criticism and rejection because they oppose the idea of a poem requiring smoothly shaped, integrated, and thus aesthetically “beautiful” form.<span class="Apple-converted-space"> </span>“Imperfect fit” is the poet Allen Fisher’s term for art in which the part exceeds in value the whole, but insists that imperfect fit, a term that may reveal the look of Schlegel’s coherence, stimulates the reader towards the collision of a maker of art with the infinite unpredictability of embodiments of reality.<span class="Apple-converted-space"> </span>In the 20</span><span class="s2" style="font-kerning: none; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><sup>th</sup></span><span class="s1" style="font-kerning: none;">-century collage art may be the extreme outcome of Schlegel’s coherence.</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">For Ann Batten Cristall, the divine vision produces a coherence of the world’s heterogeneities, uncomfortable but true:</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">[God] to this world of elements gave forms.</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">From them he moulded all, yet gave no peace,</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>But broke the harmony, and bade them rage;</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">He meant not happiness should join with ease,</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><span class="Apple-converted-space"> </span>But varied joys and pains should all the world engage.</span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">And later, Pound on Robert Browning’s poetry that privileges coherence over unity, which the author of the <i>Cantos</i> seeks to defines the needs of modern poetry:</span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;"><br /></span></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">“Say I take your whole bag of tricks, / Let in your quirks and tweeks, and say the thing’s an art-form, / . . . and that the modern world / Needs such a rag-bag to stuff all its thoughts in . . .”<span class="Apple-converted-space"> </span></span></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 28.4px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: georgia; font-size: large;">The fragment alerts the reader to their possibility to alter the given; it breaks “the system.”</span><span class="Apple-converted-space" style="font-family: georgia; font-size: large;"> </span><span style="font-family: georgia; font-size: large;">It asserts that “transitions” curtail access to the infinite by denying the interruptions and breaks that the fragment offers.</span><span class="Apple-converted-space" style="font-family: georgia; font-size: large;"> </span><span style="font-family: georgia; font-size: large;">Sparks of life and mind hover around the edges of the fragment and take thought into unexplored territory.</span><span class="Apple-converted-space" style="font-family: georgia; font-size: large;"> </span><span style="font-family: georgia; font-size: large;">As abstract as fragments appear to be, they convey the materiality of writing and the mind in writing: they interrupt, they break, they explode the text right in front of one.</span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia; font-size: medium;">“Shall I turn toward an awkward pile of prose, stolen sentences, a euphoria I don’t recognize or a path through the woods?” (Laynie Browne).<span class="Apple-converted-space"> </span>And back to Novalis: “Nothing is more poetic than transitions and heterogeneous mixtures.”<span class="Apple-converted-space"> </span></span></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: georgia; font-size: large; text-indent: 36px;"><br /></span></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: georgia; font-size: large; text-indent: 36px;">The fragment is a critique of form as a received abstraction; not a diminution of its importance but its relativization to content and spirit.</span><span class="Apple-converted-space" style="font-family: georgia; font-size: large; text-indent: 36px;"> </span><span style="font-family: georgia; font-size: large; text-indent: 36px;">See Elizabeth Barrett Browning: “Let me think of form less, and the external. Trust the spirit. . . . Keep up all fire and leave the generous flames to shape themselves.”</span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPTXPWgg1iqaA0IC3Kbl62r_0aLF5JNWOrWVXykPLBlADdfuQQPNRdzEUdVii4L8JM6HxpdkToQsquhiVLXseVyHhG9rGsBayzVuBFHt6fFIXXnBOLmorOqZcQRhkyocYDRDtl4IM7hDQ8ZnRmD2s-Kav5YjyhUyIF90YSwRWCJg2m-Cj4cJIpVGUUSA/s4032/IMG_4743.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPTXPWgg1iqaA0IC3Kbl62r_0aLF5JNWOrWVXykPLBlADdfuQQPNRdzEUdVii4L8JM6HxpdkToQsquhiVLXseVyHhG9rGsBayzVuBFHt6fFIXXnBOLmorOqZcQRhkyocYDRDtl4IM7hDQ8ZnRmD2s-Kav5YjyhUyIF90YSwRWCJg2m-Cj4cJIpVGUUSA/w400-h300/IMG_4743.jpg" width="400" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /></span><p></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia; font-size: medium;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: Cambria; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"></span><br /></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-51181540087573513822024-01-23T10:11:00.000-08:002024-03-08T10:41:27.485-08:00Every thing possible to be believ'd is an image of truth / NOVIADI ANGKASAPURA<div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtb-kxop5fiKK5ZX5wSigQjri0QfUYx_IvPAxlIYnq4I47L_06cL5iVEUSjvITMwf_nuHL48jcLnJ7giY0nK4jbCfzHWs2ZZsHBJyDKN-qHsJpaF0c9zhtlxFj9c0K8EH1362Q2EhY8x1fiRo6xbAPo3VBzaUGbzK7fh39WTHYNPbTFD1j8Se3tT-POkw/s3814/IMG_3826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2860" data-original-width="3814" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtb-kxop5fiKK5ZX5wSigQjri0QfUYx_IvPAxlIYnq4I47L_06cL5iVEUSjvITMwf_nuHL48jcLnJ7giY0nK4jbCfzHWs2ZZsHBJyDKN-qHsJpaF0c9zhtlxFj9c0K8EH1362Q2EhY8x1fiRo6xbAPo3VBzaUGbzK7fh39WTHYNPbTFD1j8Se3tT-POkw/w640-h480/IMG_3826.jpg" width="640" /></a></div><span style="font-family: georgia; font-size: medium;"><br /></span><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">ABOVE & BELOW:</span></div><div><span style="font-family: georgia; font-size: medium;">Untitled works, Noviadi Angkasapura </span></div><div><span style="font-family: georgia; font-size: medium;">Ink on paper </span></div><div><span style="font-family: georgia; font-size: medium;">Images courtesy of </span><a href="http://www.outsiderart.co.uk" style="background-color: white; font-family: georgia; font-size: large;" target="_blank"><span style="color: red;">Henry Boxer Gallery</span></a></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><span style="font-family: georgia; font-size: medium;"><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Every thing possible to be believ'd is an image of truth (Blake)<br /> <br />Much of the history, the interpretation and judgement, of Romanticism has tried to minimize this conviction. Which is to say, literary history excludes the “truth,” of Blake and Romanticism. </span></h3><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkEMI8zRTcJCxxw3oedgLrDk8vvXgW8h2cJMUlUuBSGn-jndrB129XICXzTT1ixytX9i9YjqKIN2zZSLw8SNStffWZuvAPVUfeLcl93wGXCuWA_-8stbTl3NcK1YjeeB3AKIWEom5ISiy7yOERL5GY69Ao3MZP8wGV_XbP-79_tzRd_esePW01PXRO9Xs/s4032/IMG_3788.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkEMI8zRTcJCxxw3oedgLrDk8vvXgW8h2cJMUlUuBSGn-jndrB129XICXzTT1ixytX9i9YjqKIN2zZSLw8SNStffWZuvAPVUfeLcl93wGXCuWA_-8stbTl3NcK1YjeeB3AKIWEom5ISiy7yOERL5GY69Ao3MZP8wGV_XbP-79_tzRd_esePW01PXRO9Xs/w300-h400/IMG_3788.jpg" width="300" /></a></div><br /><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Blake “forgives” -- and accepts, and welcomes -- everything possible to be believed as part of human potential. This forgiveness acknowledges abundance, stores of imagination that stimulate as well as reflect belief, and soar into unknown, Icarian atmospheres—radical, disruptive, transformative. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">The religiously-political crosses into poetry as a kaleidoscope of all things (every / thing). The “mind in its creation" proliferates with energy but, in a social atmosphere of repression, reveals precariousness. Psychoanalysis accepts Blake’s view, but struggles to follow its transformative and disruptive possibilities, while Radical Romanticism cultivates them through poetics, inserting that “image of truth” into a situation that may resist it. </span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">And resistance calls for a social reality that accepts the infinite number of “every thing[s]” that citizen can declare: a collage of mind-stars.</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span><br /></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-28251105512447956562024-01-23T10:10:00.000-08:002024-03-07T10:59:35.225-08:00Estrangement / BERNSTEIN & BEE<p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKtg0_CAKeXEQRHpSXzToECjETPPy0BrT6_XOX6UP-7Txpi4kO5hvXNXJ6ZaXr-7Gjy0lM9FCPpdpNtU44z46vylbDZWua1wEL-EgSIfLdBdLFLwlHC5uEXgYVa-pLz3aYZBL_SoY_2ixZTwatPQq1avAnjQVI_CjsYUXK1L8IGinhvuwA1vKQuiGne5k/s310/Screen%20Shot%202024-01-23%20at%2017.42.04.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="225" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKtg0_CAKeXEQRHpSXzToECjETPPy0BrT6_XOX6UP-7Txpi4kO5hvXNXJ6ZaXr-7Gjy0lM9FCPpdpNtU44z46vylbDZWua1wEL-EgSIfLdBdLFLwlHC5uEXgYVa-pLz3aYZBL_SoY_2ixZTwatPQq1avAnjQVI_CjsYUXK1L8IGinhvuwA1vKQuiGne5k/w366-h504/Screen%20Shot%202024-01-23%20at%2017.42.04.png" width="366" /></a></div><span style="font-family: georgia; font-size: medium;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />ABOVE/BELOW:<br /><br />Susan Bee & Charles Bernstein, 2023<br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Establishment literary theory condones acknowledging and even experiencing the strange as long as we “return” to a consciousness that insists upon strangeness as an aberration, confirming the center as we have always known it. The radical poem carries estrangement to the core. </span></h3><span style="font-family: georgia; font-size: medium;"><br />Brecht’s Verfremdungseffekt that distances a theatre viewer from identification with a character or situation allows for awareness of a reality more complete than what one knows or even wants. Distance is important: the Russian modernist poet Marina Tsvetaeva says that the words of a poem come from a long way off and that a poem is like a comet. Strangeness is the feeling of an encountering an object at a distance. But poetry intimates that that strangeness may actually be close up, which brings us back to the Romanticism of Novalis (ca. 1797): “The art of estranging in a given way, making a subject strange and yet familiar and alluring, this is romantic poetics.” He also said, referring to poetry, “Language is Delphi,” coming from the Pythian priestess spewing forth the strange vocables of the language of divinity.<br /><br />How do we work our way from the familiar to the strange? Wordsworth addressed this difficult and crucial question, for poets and critics and educators, in the “Advertisement” to the 1798 Lyrical Ballads:<br /><br /><i>The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and aukwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.</i><br /><br />Look at the position of maximal discomfort that the reader chooses to take in the presence of “strangeness and aukwardness” and also the genuine concern and empathy that the poet shows for his readers. Strangeness and alienation, a mental distancing, coming from expectations and “custom” (which elsewhere Wordsworth says lies on us “deep almost as frost”), contend with the immediate, proximate responses of the sensorium. Not uncommonly, a poet may “appropriate” a sentence or phrase famous to culture and rework it into strangeness that makes a newer, uncultural sense. See George Oppen’s estrangement of Shelley’s “the poet is the unacknowledged legislator of the world” into “the poet is the legislator of the unacknowledged world,” or Blake’s images that cut across the verbal expectations. This is the paradox of estrangement: it alienates on the one hand while simultaneously cuts through social and cultural defences. Thus, while poetry readings by establishment poets often put their listeners to sleep, those by avant-gardists typically stimulate the mind in unanticipated directions, provoke laughter, and usher in a sense of community: a cheerful dreaming together in a strange place.<br /><br />Estrangement can show poetry’s peculiar commitment to democracy, which itself demands a paradigm shift from a world saturated with hierarchies. At the same time, poetry<br /><br />“purges from our inward sight the film of familiarity which obscures us from the wonder of our being” (Shelley, Defence of Poetry). With Romanticism, the poetry of democracy occurs in the presence of one of poetry’s oldest functions, to present the real world as a wonder, a vision: the beauty of the goddess, the strength of the hero, all larger and more vivid than life.<br /><br /><br /></span><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmcIRbs1ccRSPSvtxdZMAgS26ddwkRBxbMWa7SF8EdfqbDrc9_XgZ3L2oUnqqlujL5YlEKFHD-t81ISAK0ibkne9aXdkZBk_5BcSocNVAd5CUZarSFA_7DePTU7l7sl-utJzNp0cu9VzNoAyHg-MatZyA0SaKcQxzh2yRioNQx-9YeYn4kokXtWBIouw/s303/Screen%20Shot%202024-01-23%20at%2017.42.34.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="303" data-original-width="226" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmcIRbs1ccRSPSvtxdZMAgS26ddwkRBxbMWa7SF8EdfqbDrc9_XgZ3L2oUnqqlujL5YlEKFHD-t81ISAK0ibkne9aXdkZBk_5BcSocNVAd5CUZarSFA_7DePTU7l7sl-utJzNp0cu9VzNoAyHg-MatZyA0SaKcQxzh2yRioNQx-9YeYn4kokXtWBIouw/w334-h448/Screen%20Shot%202024-01-23%20at%2017.42.34.png" width="334" /></a></div><br /><p><br /></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-87724688793274832422024-01-23T10:09:00.000-08:002024-03-07T10:54:16.640-08:00 Current / ERICA BAUM<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHwnoXJnoB2Y0rZ76LbA7amcRB-4UWyP9yxQrp97SXscZgGTRaS1ftpB-bHP-Eufk3dl2pvzJapCri6_Z64msfNifEm8v_xjPkv6gJUPzQxJu7JSavL_8ouQZqJt_cLqeZ_pks78ZCAUOaqTzkwuZFTM8YVrCbQc9xDnkj_MNfep9NXMq7upVWO154oQ/s2400/Edge.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2197" data-original-width="2400" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHwnoXJnoB2Y0rZ76LbA7amcRB-4UWyP9yxQrp97SXscZgGTRaS1ftpB-bHP-Eufk3dl2pvzJapCri6_Z64msfNifEm8v_xjPkv6gJUPzQxJu7JSavL_8ouQZqJt_cLqeZ_pks78ZCAUOaqTzkwuZFTM8YVrCbQc9xDnkj_MNfep9NXMq7upVWO154oQ/w431-h394/Edge.jpg" width="431" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEF1S_GcslCqnbCkjFGWJyY2cTuDshu0wfDt5GClwvezgrXVGPv3gNnSq3PTN5Elqa8SvWs_JXJVgv6tvfSDGqfg-XLFn7Yq9xwWHc-H4MGG1VTXy-ivAhdUeX5QIwZivM2PsMbPRDpZqpmyhDuN8qBDn_SZAs5DpedkAxljroB9Jd0_qo-OKPvApxbs/s2400/Grain.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2232" data-original-width="2400" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEF1S_GcslCqnbCkjFGWJyY2cTuDshu0wfDt5GClwvezgrXVGPv3gNnSq3PTN5Elqa8SvWs_JXJVgv6tvfSDGqfg-XLFn7Yq9xwWHc-H4MGG1VTXy-ivAhdUeX5QIwZivM2PsMbPRDpZqpmyhDuN8qBDn_SZAs5DpedkAxljroB9Jd0_qo-OKPvApxbs/w427-h397/Grain.jpg" width="427" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg557tGo5aGlViujdVU3CwtcIb7UIO2o1CJ5iQdF04DL0MJQllRvWfbTsfZB6JXJdMDfO890dfdI5fP-1i7BasUA_la6Bvp8lckiodVt95xWWPDLYFaEYsCBmryMkWTNQkeLRp6rdaU5Dacp-rVc4lO2Unvj5pTBWGif9dHBLlHhfpwYYl-clY1mqGB9Eg/s2455/Hip.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2455" data-original-width="2400" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg557tGo5aGlViujdVU3CwtcIb7UIO2o1CJ5iQdF04DL0MJQllRvWfbTsfZB6JXJdMDfO890dfdI5fP-1i7BasUA_la6Bvp8lckiodVt95xWWPDLYFaEYsCBmryMkWTNQkeLRp6rdaU5Dacp-rVc4lO2Unvj5pTBWGif9dHBLlHhfpwYYl-clY1mqGB9Eg/w421-h430/Hip.jpg" width="421" /></a></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><span style="font-family: georgia; font-size: medium;">ABOVE/BELOW:</span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="background-color: white; color: #242424;"><span style="font-family: georgia; font-size: medium;">Erica Baum, <i>Patterns</i>, 2020</span></span></div><div><span style="background-color: white; color: #242424;"><span style="font-family: georgia; font-size: medium;"><i>Edge, Grain, Hip, Seam, Skirt Green Red</i></span></span></div><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p><h3 style="text-align: left;"><span style="font-family: georgia;">“There is, in prayer, a magical operation. Prayer is one of the great forces behind the dynamics of the intellect. It works something like an electrical current” (Baudelaire, trans. Richard Sieburth).</span></h3><p><span style="font-family: georgia;">T<span style="font-size: medium;">o the Beat poet Diane di Prima, Romanticism is “a kind of steady esoteric current.” Esoteric: deep within. Like many of the Beats, she channels this Romanticism—for her in long, defiant lines of “revolutionary letters.” Others find the current in the cosmos, in constellations.</span></span></p><p><span style="font-family: georgia; font-size: medium;">Deep within, behind. Writing the current may reveal a subtext that moves somewhat beyond the poet’s control but brings with it realization.</span></p><p><span style="font-family: georgia; font-size: medium;">A current of creative mind (Ann Batten Cristall, ca. 1769-??): for her, affect and energy of the “mind in creation” (Shelley) collapses mind and erotic sensation leading to divinity and transgressive expansion. Electricity excites simultaneous circularities, the “fancy” leaping beyond the linear with love channeling into the passions of hair:</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;">A current of creative mind,</span></p><p><span style="font-family: georgia; font-size: medium;">Wild as the wandering gusts of wind,</span></p><p><span style="font-family: georgia; font-size: medium;">Mid fertile fancy’s visions trained,</span></p><p><span style="font-family: georgia; font-size: medium;">Unzoned, I shot, and o’er each limit strained,</span></p><p><span style="font-family: georgia; font-size: medium;">Around in airy circles whirled</span></p><p><span style="font-family: georgia; font-size: medium;">By a genius infinite;</span></p><p><span style="font-family: georgia; font-size: medium;">While Love in wanton ringlets curled</span></p><p><span style="font-family: georgia; font-size: medium;">My tresses, passion to excite.</span></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF9R5Ncvw5hG7u4H1xSPBsbzXa5tLqp7sGLi3YVWjgUz572V5j3GJYYotnsxCKrRgkMuihTIEhN6rMTo6mgr1zusHwWG5uvJ5tOW1Gm8SiyCthSweCrBtsUHBx9Q3e-sY5b_GpRSEA_K9poEFzl6lGJw0vST7eogyieHKuEbc3r8DNCB1-M0GaA_jykB4/s2400/Skirt%20Green%20Red.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2261" data-original-width="2400" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF9R5Ncvw5hG7u4H1xSPBsbzXa5tLqp7sGLi3YVWjgUz572V5j3GJYYotnsxCKrRgkMuihTIEhN6rMTo6mgr1zusHwWG5uvJ5tOW1Gm8SiyCthSweCrBtsUHBx9Q3e-sY5b_GpRSEA_K9poEFzl6lGJw0vST7eogyieHKuEbc3r8DNCB1-M0GaA_jykB4/w434-h408/Skirt%20Green%20Red.jpg" width="434" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSoG8MJuuldQHljeL2zSLlenTs81lFij0BokW38ilM3KU4BbTZZGq92VZ4xHbbT6nVBpHMZ9jkVgzZwdhVj2IpsgT0WtmH8cjatEJOcrDssWvojWW9MuUBLosicpljWjRvCfI74VhM5O-UCyiPC3ptesza3YcKf4RD7bfqBfOVYu0aUyy3mgayY5W87nI/s2400/Seam%2033.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2307" data-original-width="2400" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSoG8MJuuldQHljeL2zSLlenTs81lFij0BokW38ilM3KU4BbTZZGq92VZ4xHbbT6nVBpHMZ9jkVgzZwdhVj2IpsgT0WtmH8cjatEJOcrDssWvojWW9MuUBLosicpljWjRvCfI74VhM5O-UCyiPC3ptesza3YcKf4RD7bfqBfOVYu0aUyy3mgayY5W87nI/w431-h415/Seam%2033.jpg" width="431" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p><p><span style="font-family: georgia; font-size: medium;">Erica Baum writes:</span></p><p><span style="font-family: georgia; font-size: medium;">The current is a channel to the subtext. A dynamic energy whereby the viewer is conducted past the boundaries of the ostensible subject towards an interior transgressive lode of content. The works in the Patterns series nod at an intersection between Gertrude Stein’s continuous present and the point of electrification (current) wherein the modes of industry transformed household economies. The availability of mass produced patterns allowed access to fashions once unattainable for the masses. At the time, this was understood to be largely the province of the female homemaker and in the post-World War 2 environment women were exhorted to return to the home after time spent in the factories during the war effort and to make that home the entirety of all their aspirations.</span></p><p><span style="font-family: georgia; font-size: medium;">Isolated words reverberate in a dance with lines of instruction severed from usefulness, turning a domestic task into a liberating force.</span></p><p><span style="font-family: georgia; font-size: medium;">Currents of compressed subversive meanings unshackle any circumscribed boundaries.</span></p><p></p><p><span style="font-family: georgia; font-size: medium;">“What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.” Gerturde Stein A Long Dress, Tender Buttons</span></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-1696739803135175262024-01-22T16:30:00.000-08:002024-03-07T10:57:08.548-08:00 Circumference / DEREK BEAULIEU<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZzWNwuew1-MjYwYwILJ6PUZ595ZX5AldrEyRqOz7IRWgde0GLjshBAhSL40H9QF3lnkVyUS31YG8v3amSclTm9MLDbPemlCGHzyviI7qf1igLhlNZw8Rji7ws5g4H615FuKXECDdQgjw8LpUz5q5K51y6phFpHww7-EFSbHFzSd1nY30y56yUQsVv95I/s1536/abandoned%201%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZzWNwuew1-MjYwYwILJ6PUZ595ZX5AldrEyRqOz7IRWgde0GLjshBAhSL40H9QF3lnkVyUS31YG8v3amSclTm9MLDbPemlCGHzyviI7qf1igLhlNZw8Rji7ws5g4H615FuKXECDdQgjw8LpUz5q5K51y6phFpHww7-EFSbHFzSd1nY30y56yUQsVv95I/s320/abandoned%201%20colour.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0oc_Al1qbOYzB1-eeXa7eRHwjF18y41xWplbPdrLtlLD1KEGIPA8qnQDmlcev_GaLk4vHukmnltC-gK4fNdXY7-YJYs7hxjO6c5KoDBBPS1OOrf0YgToth-kadbe3VeL-9Azp9sy7JMspEjuRnsS43_IDPCCXJdyWa8dl5SfwfhG9eY2tynqzzZjY22s/s1678/abandoned%205%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1226" data-original-width="1678" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0oc_Al1qbOYzB1-eeXa7eRHwjF18y41xWplbPdrLtlLD1KEGIPA8qnQDmlcev_GaLk4vHukmnltC-gK4fNdXY7-YJYs7hxjO6c5KoDBBPS1OOrf0YgToth-kadbe3VeL-9Azp9sy7JMspEjuRnsS43_IDPCCXJdyWa8dl5SfwfhG9eY2tynqzzZjY22s/s320/abandoned%205%20colour.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><span style="font-family: georgia; font-size: medium;">ABOVE/BELOW</span></p><p><span style="font-family: georgia; font-size: medium;">Event Horizon by derek beaulieu and Rhys Farrell</span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">“Reason,” says Blake, “is the outward bound and circumference of energy.” Reason here equates to form, not an abstraction imposed upon a content but something of the mind that responds to an otherwise unshaped material forcefield. Circumference is fluid, pliable, a sunrise of mind, the root and blossom of systems of thought.</span></h3><p><span style="font-family: georgia; font-size: medium;">These poets seek to discover the divine within the mundane: “Poetry is indeed something divine. It is at once the centre and circumference of knowledge. . . . It is at the same time the root and blossom of all other systems of thought” (Shelley). Extent, dimension, space and distance, the conventional character of the divine and heavenly, collapses through poetry into the proximate. “My business is circumference,” says Emily Dickinson. And Philip Sidney two centuries earlier, the poet “goes hand in hand with nature, not enclosed within the narrow warrant of her gifts, but freely ranging within the zodiac of his own wit." The poet’s words, says Marina Tsvetaeva, come from a long way off. But “circumference” compresses form as congruent with visionary horizon. </span></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEium6ePHkt0XNxCiUzhtmPrcCr5bF8XJvMtxnr2TSORPo83ifnXeO5wcpj0cWQRJpX-dru6K6TSEBUV9ZJ-5tHVF9i4vYKUmrTcegY50JCo7BrrP421URFeysn0kDbDOTgyVNqV0Xx4jMgxsu3rr0eLSF-rxCqfA01T_6aV8PqEk1yIidDEqqbT6CxIAFw/s2014/overgrown%201%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2014" data-original-width="1338" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEium6ePHkt0XNxCiUzhtmPrcCr5bF8XJvMtxnr2TSORPo83ifnXeO5wcpj0cWQRJpX-dru6K6TSEBUV9ZJ-5tHVF9i4vYKUmrTcegY50JCo7BrrP421URFeysn0kDbDOTgyVNqV0Xx4jMgxsu3rr0eLSF-rxCqfA01T_6aV8PqEk1yIidDEqqbT6CxIAFw/w314-h473/overgrown%201%20colour.JPG" width="314" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6rY1DlJUFF1UK8HQvgE7TkwhgDXB5WJyRmcu1y2cFwpFBlCQYnqhN8nZq-T_wFvo-DkmtMCBl-dilk7K0ez00vbKNdrT5hyOipy6itH50oQfIQFgfatnI_tBxtuSITK3bJTSw_7Pbo29t-kv9MV0QaHoBr8qDUUSoMvlHMwt-e1yhKrIYHoPtzXHRtZ4/s2048/overgrown%202%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1132" height="559" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6rY1DlJUFF1UK8HQvgE7TkwhgDXB5WJyRmcu1y2cFwpFBlCQYnqhN8nZq-T_wFvo-DkmtMCBl-dilk7K0ez00vbKNdrT5hyOipy6itH50oQfIQFgfatnI_tBxtuSITK3bJTSw_7Pbo29t-kv9MV0QaHoBr8qDUUSoMvlHMwt-e1yhKrIYHoPtzXHRtZ4/w309-h559/overgrown%202%20colour.JPG" width="309" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhNUTj0cJTNAykWHc3c48hKB1OPt6NLRVUjnGdIHCJcY-Lm_BcKeLWhlMRqbUq-gNKwey2rAYQpoMhy_3jby9N2wxglOAWeRGHrnfUjsSCKlEZDPw5TjWdS27x3WOli-tkek05zjuRmQ8xAqJNffhaF4skxnvdmsCCJseZd_YMSaUnh8efUSDyUGebAE/s1392/overgrown%203%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1392" data-original-width="1200" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhNUTj0cJTNAykWHc3c48hKB1OPt6NLRVUjnGdIHCJcY-Lm_BcKeLWhlMRqbUq-gNKwey2rAYQpoMhy_3jby9N2wxglOAWeRGHrnfUjsSCKlEZDPw5TjWdS27x3WOli-tkek05zjuRmQ8xAqJNffhaF4skxnvdmsCCJseZd_YMSaUnh8efUSDyUGebAE/w310-h359/overgrown%203%20colour.JPG" width="310" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU3yKOn4EX0_xenGW76q6Jmf7mpLgqpb7Py9YidHaDaJj0B8LGZEGxoLCVtpP1-CNATwTdl0VgOL_xwcD2R5tlok5Ahs6U4muir8-uUW22CpAB08bV7QjNe6aeiDaOAqVeXs5KsUxWCRDWleGtybPDaJMiit99wT6fJrtnVWMWK8E4kcCINrf2grqSG1E/s1502/overgrown%204%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1502" data-original-width="1190" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU3yKOn4EX0_xenGW76q6Jmf7mpLgqpb7Py9YidHaDaJj0B8LGZEGxoLCVtpP1-CNATwTdl0VgOL_xwcD2R5tlok5Ahs6U4muir8-uUW22CpAB08bV7QjNe6aeiDaOAqVeXs5KsUxWCRDWleGtybPDaJMiit99wT6fJrtnVWMWK8E4kcCINrf2grqSG1E/w310-h391/overgrown%204%20colour.JPG" width="310" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF19z4NdfnbVAAHwYcADYpLel14PosMny3sNKTeGuUCqQtZh07a91ktL71Un26eeLNNBOi3i0NWd4hYdLwA1icrDNnHHqAMRUNKmNYDr2W1aqWYVcLGscjWMq1mrnHEN24JuA3iaYsVyhinJZBZA_m52NErZd_GQFB5iYtGYxqanK5nmeq2YDiyoy3Oro/s1678/overgrown%205%20colour.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1678" data-original-width="1226" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF19z4NdfnbVAAHwYcADYpLel14PosMny3sNKTeGuUCqQtZh07a91ktL71Un26eeLNNBOi3i0NWd4hYdLwA1icrDNnHHqAMRUNKmNYDr2W1aqWYVcLGscjWMq1mrnHEN24JuA3iaYsVyhinJZBZA_m52NErZd_GQFB5iYtGYxqanK5nmeq2YDiyoy3Oro/w309-h422/overgrown%205%20colour.JPG" width="309" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><p><span style="font-family: georgia; font-size: medium;">derek beaulieu writes:</span></p><p><span style="font-family: georgia; font-size: medium;">Event Horizon</span></p><p></p><p><span style="font-family: georgia; font-size: medium;">Through others we become ourselves. Writing is a public act; we must learn to share our work with a readership: see our work as worth sharing, our voices as worth hearing. Release your grip. Writing builds community through gift and exchange, through consideration and generosity. Devour films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. It’s not where you take things from—it’s where you take them to. Don’t protect your artwork, give it away. Embrace the unexpected. Encourage circulation over circumference. Generosity is always sustainable. Just as logos continuously wash over us, let poetry do the same; part of the written landscape we occupy. Create reflections and distortions that work to keep poetry current, in flow, a fluidity refusing to solidify around power. Create the liquid and languid; flow and gather, drip and congeal, slide off the page. Embody the immediate present, the place where poetry is using the language of contemporary existence. Write not just in the margins, but in the kerning. Imagine a poetry that learns from the internet, learns from mass media, and starts to assume different forms of distribution: the website, the tweet, the post, the logo, the advertisement, the targeted ad. Create the slogans for imaginary businesses and promote a poetic dreamscape of alphabetic strangeness. Poems are the street signs, the signage, the advertising logos for the shops and corporations that are just beyond reach. Writing is not about something; it is that something itself. Remarkable words with letters bigger than aqueducts ringed with quicksilver, flamboyant and shocking. Poetry is not the beautiful expression of emotive truths; it is the archaeological rearrangement of the remains of an ancient civilization.</span></p></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-30576542446734970772024-01-22T16:00:00.000-08:002024-03-19T10:28:43.928-07:00 Manifest: NEXT [a kind of outro] / Jeffrey Robinson<p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p><span style="font-family: georgia; font-size: medium;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYHaYA4ZAK1f2r4_En67P6dpDl6_Bj6AMCkP90WF-eFf2qvMW5uNlD54dV7k4pTWl3KgO6vXNHwK1BbOmiKwlbazuCwzz0uPueMvFqf_HesQB_DiiCjIC-wKgL08JDTqj_Wi9V8tL0lR_zZsQRmEbmDYKgwmt1Q_saJqiaWo4xs-TIfB1E3YlAz3JPT8/s1298/Screen%20Shot%202024-02-27%20at%2019.57.56.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="862" data-original-width="1298" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYHaYA4ZAK1f2r4_En67P6dpDl6_Bj6AMCkP90WF-eFf2qvMW5uNlD54dV7k4pTWl3KgO6vXNHwK1BbOmiKwlbazuCwzz0uPueMvFqf_HesQB_DiiCjIC-wKgL08JDTqj_Wi9V8tL0lR_zZsQRmEbmDYKgwmt1Q_saJqiaWo4xs-TIfB1E3YlAz3JPT8/w640-h426/Screen%20Shot%202024-02-27%20at%2019.57.56.png" width="640" /></a></div><br /><br /><span style="font-family: georgia; font-size: medium;"><br /></span><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;"><br /></span></div><div><span style="font-family: georgia; font-size: medium;">ABOVE</span><div><span style="font-family: georgia; font-size: medium;">Untitled, Jon Sarkin<br />Ink on card</span></div><div><span style="font-family: georgia; font-size: medium;">Image courtesy <a href="http://www.outsiderart.co.uk"><span style="color: #cc0000;">Henry Boxer Gallery</span></a><br /><br /><br /><br /><br /></span><h3 style="text-align: left;"><span style="font-family: georgia; font-size: medium;">Romantic Manifestos Manifest will find its next manifestations as a book and an exhibition. Collected alphabetically, the 100 manifesto statements, my commentaries upon them, and the responses of artists and poets accumulate into a loose but vibrant coherence fed by the freshness of the original (radical, root) Romantic vision.</span></h3><span style="font-family: georgia; font-size: medium;"><br />The radical Romantic manifesto does not require that poetry simply record experience; these manifesto-poems are driven by the conceptual, the theoretical, toward a poetics that’s experimental, exploratory, utopian. To understand and be moved and above all changed by poems, the reader is urged to know what shapes their formation and purpose.<br /><br />But as the British poet Robert Sheppard puts it: “Poetics does not always, or often, call itself poetics, since it can be mercurial and intermittent and it can appear in a variety of guises, for example, in writers’ letters, reviews, literary criticism, and in their creative work itself.”<br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipb0vtFbZOgefmGHisNz_lHCbpGkSzYMQTmpsC7vtp0DEhb_1WGjU2nm15rMvXEXKiAcTCAv95B06mY3a0Bxj_Ap64_Ic1S1IV46OsQBZeJo1xOZCqGCFF-f6Pcskmqs8s34Ji2sK9uBXJzKlOKW0XWSi3jI1U5xlSMgUyqvcqab0I9oQZlf9B5ZzBrvw/s6450/urchin%203a%20cut%205.jpg"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipb0vtFbZOgefmGHisNz_lHCbpGkSzYMQTmpsC7vtp0DEhb_1WGjU2nm15rMvXEXKiAcTCAv95B06mY3a0Bxj_Ap64_Ic1S1IV46OsQBZeJo1xOZCqGCFF-f6Pcskmqs8s34Ji2sK9uBXJzKlOKW0XWSi3jI1U5xlSMgUyqvcqab0I9oQZlf9B5ZzBrvw/w281-h320/urchin%203a%20cut%205.jpg" width="281" /></a></div></span><span style="font-family: georgia; font-size: medium;"><br /><br /><br />ABOVE:<br />Urchins, by Patricia Farrell, 2023<br /><br />BELOW:<br />Erica Baum, Edge, from Patterns, 2020<br /><br /><br /><br /><br />The manifestos appear in three forms: works explicitly devoted to stating, describing, and perhaps arguing, the way a certain feature of poetry works and the purpose of poetry in general; more casual or inadvertent expressions such as those found in letters, notebooks, and journals; and lastly poems themselves. They belong in a book of course, but they also belong on walls, as language art, as a wider gesture.<br /><br />Romantic manifestos exist in “an interplay, a shifting back & forth between the thing said & the creation of new means by which to say it” (Jerome Rothenberg and Pierre Joris in Poems for the Millennium, Volume Two), “offering a means—linguistic & methodological—to overthrow & rebuild”: the deeply-held conviction by Romantic poets “to subvert (or to capture) the inherited past.” Their poetry and the manifestos that flowered alongside anticipate the wild blooms of the 20th-century avant-garde, and contain seeds of the 21st-century poetic experiment to continue and yet subvert our inheritance. The language artists whose work responds to the Manifestos are also carriers of this continuum, breaking as they make.<br /><br />We'll publish the complete Romantic Manifestos Manifest as a book in 2024/5, and will exhibit associated works in parallel.<br /><br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEaZIWS5VA3YlQi8G1nfccrpdAg4X-mg_3KlyTvQeGfJFMOt-R7_G96KqFDZAM0WwXjO8EsQWhezdkk4Dyv7fPBy3RyrgNjV-UrZ2UnQdt65DUmww3XjvXqG6s8aFzAhyphenhyphenEE3EuwyUbkdPzGPFAWs3KnXtbXA1mM8K5P_ycCcx1STjmzgSKx1NgUxXPqw/s2400/Edge.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEaZIWS5VA3YlQi8G1nfccrpdAg4X-mg_3KlyTvQeGfJFMOt-R7_G96KqFDZAM0WwXjO8EsQWhezdkk4Dyv7fPBy3RyrgNjV-UrZ2UnQdt65DUmww3XjvXqG6s8aFzAhyphenhyphenEE3EuwyUbkdPzGPFAWs3KnXtbXA1mM8K5P_ycCcx1STjmzgSKx1NgUxXPqw/s320/Edge.jpg" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><br /></div></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-7161613452032098692022-05-31T07:37:00.017-07:002022-05-31T08:44:00.315-07:00ISSUE#6 / A KIND OF INDEX<p> </p><div><span style="font-family: georgia;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaO8I5Z5gQwaLnE6nIuTWF2OfS3ZDhw-RfCWCwhDlCIWnRvLEwMgFCuY287p51eOItwZLHorUdpPBFyt3WkigS81x8w8shhqjAYEKCFfkna8R524bkZ-82J2VXHehqtp7rOB-BjEvOT287JO4dAE_KtbwJmUoIZjmlV15GJpKnT1A--4oU3v6iAG2b/s1097/IMG_4624-edit.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="961" data-original-width="1097" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaO8I5Z5gQwaLnE6nIuTWF2OfS3ZDhw-RfCWCwhDlCIWnRvLEwMgFCuY287p51eOItwZLHorUdpPBFyt3WkigS81x8w8shhqjAYEKCFfkna8R524bkZ-82J2VXHehqtp7rOB-BjEvOT287JO4dAE_KtbwJmUoIZjmlV15GJpKnT1A--4oU3v6iAG2b/w400-h350/IMG_4624-edit.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div><div><div><br /><br /><div style="text-align: left;"><span style="font-family: georgia;"><i>ABOVE:</i></span></div><div style="text-align: left;"><span style="font-family: georgia;"><i>Banner for Maggie O'Sullivan, by Astra Papachristodoulou</i></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2021/10/an-introduction-three-is-golden-crown.html" target="_blank"><span style="color: #f4cccc;">INTRODUCTION</span></a> / & <a href="https://synaptry.blogspot.com/2021/10/the-geometric-perspective-augmented.html" target="_blank"><span style="color: #f4cccc;">PROVOCATION</span></a></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2021/10/one-book-of-ours-making-of.html" target="_blank"><span style="color: #f4cccc;">ONE = A BOOK OF OURS</span></a> </b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div><div style="text-align: left;"><span style="font-family: georgia;"><span style="font-family: georgia;">is a visual-poetic epic </span><span style="font-family: georgia;">of British homelessness </span>“an ancient manuscript for our time” scribed by over 150 people affected by homelessness in poems, artworks, calligraphy, songs and chants</span><span style="font-family: georgia;">, echoing the form of medieval manuscripts, especially the Book of Hours. </span><span style="font-family: georgia;"><a href="https://arthur-martha.com/category/a-book-of-ours/"><span style="color: #f4cccc;">This collaboration was co-directed by artist Lois Blackburn and poet Philip Davenport, as arthur+martha in Manchester UK 2018-21 and is now permanently housed at John Rylands Library in the city.</span></a> </span><span style="font-family: georgia;">A 10,000 word <a href="https://synaptry.blogspot.com/2021/11/help-is-too-big-to-put-in-words-book-of.html" target="_blank"><span style="color: #f4cccc;">Commentary</span></a> by Jeffrey Robinson (with some illuminations) appears in this issue of Synapse International.</span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div></div></div><div style="text-align: left;"><span style="font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2021/12/two-kaldron-notes-from-editor.html" target="_blank"><span style="color: #f4cccc;">TWO = KALDRON</span></a> </b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;"><span>karl kempton published <a href="http://www.thing.net/~grist/l&d/kaldron.htm"><span style="color: #f4cccc;">kaldron</span></a> on paper from 1976-1990; in 1997 it moved online. “North America’s Longest Running Visual Poetry Magazine” is significant archive of experimentation with fusions of word and image, mail-art, concrete and other sundry items of literary marginalia. kempton writes of the birthing of the magazine, and discusses the corpus with</span> Mahmoud Moawad Sokar <span>and Paula Claire.</span></span></div></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="color: #f4cccc; font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2021/12/synapse-essay-eleventh-cleveland.html" target="_blank">[<span style="color: #f4cccc;">SYNAPSE ESSAY THE TENTH: Cleveland Concrete by karl kempton</span>]</a></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;"><b>THREE x 3 = </b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><i><span style="font-family: georgia;">In homage to the recent anthology of women's visual poetry, Judith</span></i></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="color: #f4cccc; font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/02/threeone-sibyls-liz-collini-lindsay.html" target="_blank"><span style="color: #f4cccc;">THREE:one / SYBILS</span> </a></b></span></div><div style="text-align: left;"><span style="color: #f4cccc; font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/02/threeone-sibyls-liz-collini-lindsay.html" target="_blank"><span style="color: #f4cccc;">Liz Collini & Lindsay Simons. Language art sequence</span>.</a></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;">The ancient sibyls as a source from which to spark /<i><span>female figures representing power and agency; writing, speaking; the leaves as carriers of prophesies; our own place as women entering our ‘third’ age<span class="Apple-converted-space"> / </span></span></i><i><span>voices through which the Sibyl speaks, as described by oval/ova/mouth/orifice; female orifices </span></i><i><span>the sibyl in the bottle, the sibyl in the bottle in the cave.</span></i><i><span><span class="Apple-converted-space"> </span></span></i></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="color: #f4cccc; font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/05/threetwo-judy-as-judith-look-look-again.html"><span style="color: #f4cccc;">THREE:two / JUDY AS JUDITH</span></a></b></span></div><div style="text-align: left;"><span style="color: #f4cccc; font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/05/threetwo-judy-as-judith-look-look-again.html"><span style="color: #f4cccc;">Guest Editor</span> Judy <span style="color: #f4cccc;">Kleinberg</span></a></b></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;">Visual poetry embraces history, craft, and technology -- refers, in varying degrees, to traditional forms such as painting, collage, sculpture, literature, music, and textiles. At the same time, it calls upon the future..</span><span style="font-family: georgia;">.</span><span class="Apple-converted-space" style="font-family: georgia;"> </span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/05/erica-baum-interviewed.html">[<span style="color: #f4cccc;">INTERVIEW: Erica Baum</span>]</a></b></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><b><a href="https://synaptry.blogspot.com/2022/05/threethree-via-guest-editor-rachel_52.html"><span style="color: #f4cccc;">THREE:three / Coca Cola & other utopian objects</span>.<span style="color: #f4cccc;"> A WORD FROM OUR SPONSORS</span>. </a></b></span></div><div style="text-align: left;"><div class="separator" style="clear: both;"><span style="font-family: georgia;"><b>Guest editor Rachel Robinson</b><br /><br />What, then, is the role of the author? Does the author control what happens, or does s/he facilitate something that happens on its own? Is s/he like Rimbaud’s concert master who waves his bow and the symphony comes onto the stage of its own accord? The poet is the one who uses Flash to tell the computer to command both the letters and the gibberish sounds to act...<br /><br /><b><a href="https://synaptry.blogspot.com/2022/05/postscript-bi-erasure-others-astra.html" target="_blank">PS <span style="color: #f4cccc;">= Bi-erasure & others. Astra Papachristodoulou</span></a></b><br /><br /><br /><br /><i>BELOW:</i><i><br />January, Calendar, various artists. A BOOK OF OURS. <br />Photograph by Lois Blackburn<br /></i><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5MVAH7ihy9wuiFdbPbHsmFVVZnSYZLROjiS1AjMlk0PZ2Qt0UDWeCKkgS_j1kil8C54-qwzNNMFjYhl6zuZVo4lxVJ0lAC3C8pn4GeiUKsFHxcCdAG_tp7O66dxsFlgTYz2Z9dV3hf7i_cnny67pTzDOcjJhcciT3r0ZxuISinorszUP106zQ1K1u=s2048" style="font-family: Times; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="638" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5MVAH7ihy9wuiFdbPbHsmFVVZnSYZLROjiS1AjMlk0PZ2Qt0UDWeCKkgS_j1kil8C54-qwzNNMFjYhl6zuZVo4lxVJ0lAC3C8pn4GeiUKsFHxcCdAG_tp7O66dxsFlgTYz2Z9dV3hf7i_cnny67pTzDOcjJhcciT3r0ZxuISinorszUP106zQ1K1u=w479-h638" width="479" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;"><span style="font-family: georgia;"><br /></span></div><br /><div style="text-align: center;"><div style="font-family: Times;"><i><span style="font-family: georgia;">WAKE EVERY MORNING CAN’T BLOODY MOVE </span></i></div><div style="font-family: Times; text-align: left;"><i><span style="font-family: georgia;"><div style="text-align: center;"><i>Wake in the darkness of me </i></div><div style="text-align: center;"><i>Wake with the sun in my mouth. </i></div></span></i><div style="text-align: center;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: center;"><span style="font-family: georgia;">(<a href="https://synaptry.blogspot.com/2021/10/calendar-october-book-of-ours.html" target="_blank"><span style="color: #f4cccc;">A BOOK OF OURS Calendar, from October</span></a>)</span></div><div><span style="font-family: georgia;"><br /></span></div></div></div></span></div><span style="font-family: georgia;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 8px;"><br /></p></div></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span class="Apple-converted-space" style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><div><div style="text-align: left;"><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;"><br /><br /><br /><br /></span></div></div><div class="separator" style="clear: both;"><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;"><br /></span><div class="separator" style="clear: both;"><span style="font-family: georgia;"><br /></span></div></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-19165490139516428522022-05-24T03:45:00.005-07:002022-05-26T07:00:07.758-07:00PostScript = Bi-erasure & others. Astra Papachristodoulou<p> </p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj223oTVuvsoh0YhIcp96ABXkpB0xi0OcEcVE9M8KDI7X_X2PC4_PLs9GvR6s8B4HyL_pz7XIbaUnZQ85ky0dchg14Khv9kCJZL0SulP6kBC_GbEpXIfLHVTJNvAGanDY7wRjQQ03pEeeWquUhI_Tr7Bqn0Umiv0IOmjkIS0hsFZWulD9dJFBf3pe90/s5847/bi-erasure.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5847" data-original-width="4133" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj223oTVuvsoh0YhIcp96ABXkpB0xi0OcEcVE9M8KDI7X_X2PC4_PLs9GvR6s8B4HyL_pz7XIbaUnZQ85ky0dchg14Khv9kCJZL0SulP6kBC_GbEpXIfLHVTJNvAGanDY7wRjQQ03pEeeWquUhI_Tr7Bqn0Umiv0IOmjkIS0hsFZWulD9dJFBf3pe90/w283-h400/bi-erasure.jpg" width="283" /></a></div><span style="font-family: georgia;"><br /><br /><br /><br />“A bi-erasure poem made of responses from family & friends who felt entitled to have an opinion about who I’m attracted to. I collected them over the years (don’t know why) and covered the most hurtful words in purple just cause I can...”<br /><br /><br /><br /><br /><b>Astra Papachristodoulou </b><br /><br />is a PhD researcher and tutor at the University of Surrey with focus in sculptural poetics in the Anthropocene. She is the author and editor of several books and anthologies of poetry, and her work has appeared in Ambit, Berkeley Poetry Review, Buzdokuz and Bee Craft amongst other UK and international magazines. Astra is the founder of <a href="#">Poem Atlas</a>, an exhibition platform and publisher of visual poetry, and her work has been exhibited in a range of art venues including the National Poetry Library in London and the Technohoros Gallery in Athens.<br /><br /><br /><br /></span><p><span style="font-family: georgia;"><i>ABOVE:<br />Bi-Erasure<br />BELOW:<br />we clusters, unwanted, unexpected 1, relativity, product code 3482WS </i><br /></span><br /><br /><br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8U1nguFQHzESPvLV4A4P4JL0-XWdQ1AST6JqlSajDfBao9yevisxICyq0WLUwXDsuRoOUDB2dJ7ptuHM9trfW7yAPo3JeR2V1lOqQryXgb65h4PZ1BoO2sw62jjLqO_a8MEvqOIypUsl3mc8ic0PJTg-4YURElfzkcCx61V2Mzdm5PRBA7a_6uE9/s2481/we%20clusters.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="1749" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8U1nguFQHzESPvLV4A4P4JL0-XWdQ1AST6JqlSajDfBao9yevisxICyq0WLUwXDsuRoOUDB2dJ7ptuHM9trfW7yAPo3JeR2V1lOqQryXgb65h4PZ1BoO2sw62jjLqO_a8MEvqOIypUsl3mc8ic0PJTg-4YURElfzkcCx61V2Mzdm5PRBA7a_6uE9/w283-h400/we%20clusters.jpg" width="283" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_hP4coDdAw9GLS2vIgXVKxDKbjSOq9pCJxj4ONNM_bc31F_u-e5L0Tf4ODC60Sp80tlQOigURBgjDVa_ruK4S1GdXx9SWfO5R_2XnCo6QwdTT_CCDRSzQHrXMQdI2g0mRwEYPiq16qu3uc8TeVUcoxmfj2y7y6xmK_QHGRVEPOOD_2SU38u5i9Kn/s2481/unwanted.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2481" data-original-width="1749" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_hP4coDdAw9GLS2vIgXVKxDKbjSOq9pCJxj4ONNM_bc31F_u-e5L0Tf4ODC60Sp80tlQOigURBgjDVa_ruK4S1GdXx9SWfO5R_2XnCo6QwdTT_CCDRSzQHrXMQdI2g0mRwEYPiq16qu3uc8TeVUcoxmfj2y7y6xmK_QHGRVEPOOD_2SU38u5i9Kn/w283-h400/unwanted.jpg" width="283" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbTrI1-URXk0gSVqyz0M2RB1XCfKQkaFlxvzPZJj-AlXOcPxaSSs8Vnck4Z1-DOX53KoNXlnKgxs1GlaIfCbMm2DK_XPZwSIznPaZ0bMvAQQqmUFIlLHe1_I6-kQ2-HKZ4z-gRa-7PbqVVFqGD8rSHDUDjrsNFB3SRWUvsFueN2hZeajbcd6zY9qkS/s2481/unexpected%20I.jpg" style="margin-left: 1em; 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font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;">Plastic poetics, Coca Cola & other utopian objects </span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;">/ A WORD FROM OUR SPONSORS /</span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;"><br /></span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;"><br /></span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;"><br /></span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b><span style="font-family: georgia;"><br /></span></b></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: justify;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0RA58GJ75L5CMkGv8bdgFBiE4Z1B-zvRLvEgWqdriiaIngyA_FvEEiKK22S6tuQa5WmKm2_lp1Hje2eeGxIrOOJEXH_xGXKRBHZ-4H9fKuO5SChF1yN6DcAyxzJwA4BREhD9zv7imVk3OcYF5Zi5M14bEmbOBbUgRRgLvGL4zQEZtWDS8Z0IUo4-b/s500/Figure%20112%20Pignatari%20Beba.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="500" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0RA58GJ75L5CMkGv8bdgFBiE4Z1B-zvRLvEgWqdriiaIngyA_FvEEiKK22S6tuQa5WmKm2_lp1Hje2eeGxIrOOJEXH_xGXKRBHZ-4H9fKuO5SChF1yN6DcAyxzJwA4BREhD9zv7imVk3OcYF5Zi5M14bEmbOBbUgRRgLvGL4zQEZtWDS8Z0IUo4-b/w400-h399/Figure%20112%20Pignatari%20Beba.png" width="400" /></a></b></div><b><br /></b><span style="font-family: georgia;"><br /><br /><br />Visual and Plastic Poetics: From Brazilian Concretism to the Chilean Neo-Avant-Garde (Legenda, 2022) <br />/ A BOOK OBJECT by Guest Editor Rachel Robinson<br /><br /><br /><br /></span><b><br /></b><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiStrTO0-w90RuENrF68Hem_cXav7PzOx2HGNNErh7JdlNRiT0BF_Fis3g4esCu04wvixmEIbeARuJRpzV7x88CbxaplybrPtu9jSBI4gIAvuNFTPNp6N9MOJ0v9V-g_BZzLzKPUNUQQZpjwuBEprht2YuYFYAqnGNOcpkF9QtXDD5SNUSXXYQw3zFn/s901/Figure%2041.3%20Vicuna%20Instan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="646" data-original-width="901" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiStrTO0-w90RuENrF68Hem_cXav7PzOx2HGNNErh7JdlNRiT0BF_Fis3g4esCu04wvixmEIbeARuJRpzV7x88CbxaplybrPtu9jSBI4gIAvuNFTPNp6N9MOJ0v9V-g_BZzLzKPUNUQQZpjwuBEprht2YuYFYAqnGNOcpkF9QtXDD5SNUSXXYQw3zFn/w640-h458/Figure%2041.3%20Vicuna%20Instan.jpg" width="640" /></a></div><br /><span style="font-family: georgia;"><br /></span><p></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: justify;"><span style="font-family: georgia;"><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: justify;"><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;"><span style="color: #0f0f0f;"></span>Characteristically a-syntactic and insisting upon on the word and poem as object, Brazilian concrete poetry (1950s onward) creatively and often playfully performs a critique of the ways in which we interact with language and literature. The concretist techniques move beyond the Brazilian borders to the Chilean neo-avant-garde of the 1970s and 1980s. I demonstrate for the first time how three Chilean experimental poets, Cecilia Vicuña (1947-), Juan Luis Martínez (1942-1993) and Rodrigo Lira (1949-1981), develop and expand upon Brazilian concrete poetics. Furthermore, the Chilean recovery of the experimentations of concrete poetry transfers the critique of language from an international sphere to the severe political reality of Chilean politics, particularly during or in relation to the dictatorship of Augusto Pinochet.</span></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqJlnRkugRurn3SMQsAw-pkUq_CC43AjEeQhw21HO8rMuF37Civ8XoNI9YiHEAJd6HBYiVCQfGPz-zr0Z6YjS6p1ihcukoqW2YP9hMi5aD51Hh38EPHWS4br3wrRr4MapingeEZE4AbH9SwXHlf_v07wTZwTfwDUiZiaR3nEYr36EcArdcbiVSqLnE/s400/Visual-and-Plastic-Poetics.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="264" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqJlnRkugRurn3SMQsAw-pkUq_CC43AjEeQhw21HO8rMuF37Civ8XoNI9YiHEAJd6HBYiVCQfGPz-zr0Z6YjS6p1ihcukoqW2YP9hMi5aD51Hh38EPHWS4br3wrRr4MapingeEZE4AbH9SwXHlf_v07wTZwTfwDUiZiaR3nEYr36EcArdcbiVSqLnE/w264-h400/Visual-and-Plastic-Poetics.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Book cover artwork Cecilia Vicuña</i></td></tr></tbody></table><br /><span style="font-family: georgia;"><br /></span><p></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p4" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p5" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-indent: 35.4px;"><span class="s1" style="font-kerning: none;"><span style="font-family: georgia;">While observing concretist features in the poems of these Chilean writers, I do not argue that they are concrete poets or that their works are concretist.<span class="Apple-converted-space"> </span>Instead, I propose that they have absorbed into their own later works features of concrete poetry that they develop as part of their own unique poetics with diverse motivations. Several key characteristics of concrete poetry are manifest in the works of these Chilean poets.<span class="Apple-converted-space"> </span>In particular, they share 1) a focus on the word decoupled from syntax, 2) an emphasis on the space of page (and at times beyond the limits of the page) instead of the line and 3) a destabilisation of the authority of a poem which in turn facilitates the reader’s entry into the creation of it.<span class="Apple-converted-space"> </span>Making use of these strategies, all three Chilean poets uniquely develop and then significantly bend to their own purposes concretist poetics as a political gesture against authoritarian and capitalist ideals. <span class="Apple-converted-space"> </span></span></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="font-family: georgia;"><br /></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="font-family: georgia;"><br /></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="font-family: georgia;"><br /></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhUC_9MBkGSxjSxoPt_E0WvVD9uVvBL7btquOV5982wF4NeiwgCHCGiODGt4Endn_8xcJk14BXBS5TfKF7V3M1NxvyAXXcYqBf1gYp1P59tM4-W3PGTgE2XH8z3kBzCWfPbrz42voifMKXspyiP_WoRLcnS6ALl7QfOF8ZOmYrr4dsqYdDtYxf6TeV/s452/Screen%20Shot%202022-05-20%20at%2014.16.36.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="452" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhUC_9MBkGSxjSxoPt_E0WvVD9uVvBL7btquOV5982wF4NeiwgCHCGiODGt4Endn_8xcJk14BXBS5TfKF7V3M1NxvyAXXcYqBf1gYp1P59tM4-W3PGTgE2XH8z3kBzCWfPbrz42voifMKXspyiP_WoRLcnS6ALl7QfOF8ZOmYrr4dsqYdDtYxf6TeV/w400-h241/Screen%20Shot%202022-05-20%20at%2014.16.36.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"><br /></span></p><p class="p6" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-indent: 35.4px;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"><br /></span></p>Ultimately, the Chilean poets stray away from typical concretist poetics to express particularly Chilean political and social concerns. My first example, Martínez, like the Brazilian concretists, undercuts the authoritative role the poet plays in many conventional works.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;">However, recognising the inevitability of the authorial presence, he questions, without completely erasing (as the concrete poets attempt to do), his particular role as author in the creation of the text and makes room for the reader’s participation.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;">Lira’s concretist critique of authorship and text takes a different form through his direct </span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;">détournement</i><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"> of previous poetry and of quotidian materials. Unlike the concretists, however, he draws from literary and non-literary material that is particular to his Chilean context in his critique of the capitalist and authoritarian regime under which he wrote.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;">Vicuña shares the concretist preoccupations above, but develops them as ‘plastic’ poetry (that is, poetry that invites the reader to enter into the creation of the work in its ideal state) at the level of the word, page and book that encourages active readerly participation and ultimately expresses a democratic and feminist vision.</span><span class="Apple-converted-space" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: georgia; text-indent: 35.4px;"> </span><span style="font-family: georgia;"> </span><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;">Rachel Robinson, 2022<br /></span><p></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmm_RxPHJXGO7smGofX-aFy20dXOUseEU-MIBdxBidWCddMzmTC_PDC7rQjPRznkmqq2hZleZ2DKFkwMWNAMWYLMSbdCkgDL-BgIxzQN5mmqB-UHsxcU_XqCv_dtpB1b0BSEoqZIrBNxY0Z5thj6U7iGUOgdOoXD448J0uz_JLY69bzsV9MRTWIS4C/s1314/Figure%2049.1%20Lira%20Nil%20Novi.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1314" data-original-width="812" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmm_RxPHJXGO7smGofX-aFy20dXOUseEU-MIBdxBidWCddMzmTC_PDC7rQjPRznkmqq2hZleZ2DKFkwMWNAMWYLMSbdCkgDL-BgIxzQN5mmqB-UHsxcU_XqCv_dtpB1b0BSEoqZIrBNxY0Z5thj6U7iGUOgdOoXD448J0uz_JLY69bzsV9MRTWIS4C/w248-h400/Figure%2049.1%20Lira%20Nil%20Novi.png" width="248" /></a></div><br /><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><br /></span></p></div>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-53178391363955695842022-05-18T12:37:00.005-07:002022-05-24T10:53:47.050-07:00THREE:three: [via Guest editor Rachel Robinson] / Ana María Uribe: ciberpoesía semiótica pt 3<p><br /></p><p><br /></p><p><br /></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiYTA7VJncmrQPhBf_i4u4aFIaCr5yiNge4X9O4vedRtPESs3n9CXvtIAsupP4VghpFbNv4tr_I6IwfVRyJT_d-wdNuyvqg6Cki1quhChkqukqwlOABdzEfS1LvUjdH5ETN2miXHr1VHW_NDkyciHydl7_zkXoLu89PpOgUI-4H5rObU8S7NZNVWaz/s269/guggen.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="269" data-original-width="267" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiYTA7VJncmrQPhBf_i4u4aFIaCr5yiNge4X9O4vedRtPESs3n9CXvtIAsupP4VghpFbNv4tr_I6IwfVRyJT_d-wdNuyvqg6Cki1quhChkqukqwlOABdzEfS1LvUjdH5ETN2miXHr1VHW_NDkyciHydl7_zkXoLu89PpOgUI-4H5rObU8S7NZNVWaz/w397-h400/guggen.gif" width="397" /></a></div><span style="font-family: georgia;"><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><br /></span></div><br /><div style="text-align: center;">‘Guggenheim Museum’ (Typoem, 1968)</div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/guggenesp.html</a></div><br /><br />From a distanced glance, this poem looks like the shape of the staircase inside the museum in New York. When one reads it, however, one has to move their head as they read each word, as though one is moving through the spiralling museum floors. While this process is mimetic of one’s experience at the museum, it also makes the reading process a kinetic one. </span><br /><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8019P_bXQOHmgDBgrvcC1GIQ29FPnwD_UDUfxrWTXJbLa2bcfwl6LWY5y04ANUPJVQDvvOG1A6NNorqs514fDKjwsr_N0qnMuX6_5HPaxAwNKw51bKe9rUPfHWyBkrIQO4dEoPDxyhDws64_czpiMbdXAt50qWPPZqq66i6b9Jr2trmH9r6ldWBg5/s600/tren2.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="86" data-original-width="600" height="58" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8019P_bXQOHmgDBgrvcC1GIQ29FPnwD_UDUfxrWTXJbLa2bcfwl6LWY5y04ANUPJVQDvvOG1A6NNorqs514fDKjwsr_N0qnMuX6_5HPaxAwNKw51bKe9rUPfHWyBkrIQO4dEoPDxyhDws64_czpiMbdXAt50qWPPZqq66i6b9Jr2trmH9r6ldWBg5/w400-h58/tren2.gif" width="400" /></a></div><p></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /></span></p><span style="font-family: georgia;"><br /><br /><br /><div style="text-align: center;">‘Tren en marcha’ (Typoem, 1968)</div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/tren.html</a></div><br /><br /><br /><br />If one takes in this poem at a glance, its shape is reminiscent of a train car, and, if one further blurs their focus on them, the excessive repetition of the letters has the effect of portraying a train zipping passed. The semantic meaning of the words emphasizes the image we can see on the page, but also what we can hear and feel. When one reads the poem aloud, one imitates the sounds of a train in motion: the rolling of the repeated ‘r’s makes the sound of a train revving up, and, as Ledesma also points out, the repetition of the ‘ch’s makes the sound of a train’s wheels churning forward. The reader not only makes the train run visually across the page and gives sound to it, but in a way becomes like a train, or perhaps a conductor of a train: the reader’s eyes move fast across the page as s/he makes the sounds a train makes, and as one reads from left to right on the page, the train moves from right to left, as though the train was moving forward as the scenery zips passed in the other direction (imagine looking out a train window). <br /><br /><br /><br /></span><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL4geN_FVNwtnEHjrpKRI_vaxEYMYNAzF7FZOb7SziWxn-52Nk6St9zcofyueLS7wu9WrVbwa5SNGOqjlP8KPwL2WvmJp5nRLID1-oDo--Mlq8I4ESmKmxjJEhvXVVEtEjv6Cre15rpOWOT_CdLKLtfNqy8h8j272hszs7ZrtLaBQXIzsIvxl9CtTX/s270/bowling.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="270" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL4geN_FVNwtnEHjrpKRI_vaxEYMYNAzF7FZOb7SziWxn-52Nk6St9zcofyueLS7wu9WrVbwa5SNGOqjlP8KPwL2WvmJp5nRLID1-oDo--Mlq8I4ESmKmxjJEhvXVVEtEjv6Cre15rpOWOT_CdLKLtfNqy8h8j272hszs7ZrtLaBQXIzsIvxl9CtTX/w400-h400/bowling.gif" width="400" /></a></div><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /></span></p><p class="p3" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /></span></p><span style="font-family: georgia;"><br /><br /><div style="text-align: center;">‘Bowling’ (Typoem, 1968)</div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/bowlinge.html</a></div><br /><br /><br /><br />This Typoem illustrates a round of bowling, with the ‘i’s as the pins about to be hit by the close ‘o’ as the bowling ball. The ‘o’ at the bottom of the screen could be seen as the person playing the game, or could be the bowling ball at the beginning of the game. If it is seen as the latter, the ball ‘moves’ down the bowling alley as the reader moves their eyes from the bottom to the top of the screen. <br /><br /><br /><br /><br /><i>*Some of these descriptions are developed from my article, written with Felipe Cussen, The Spirituality of Language in Cecilia Vicuña’s and Ana María Uribe’s Visual Poetry.</i></span>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0tag:blogger.com,1999:blog-4037375611346615726.post-47145865810067452662022-05-18T12:36:00.003-07:002022-05-24T10:57:13.570-07:00THREE:three: [via Guest editor Rachel Robinson] / Ana María Uribe: ciberpoesía semiótica pt 2<p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKq09EMWVPu1Llxq0cBxLSQvMzHGlSCROrm_yJqKrX-42D5Z3GwscBC9MlBHl4y4ZsQZudlMBxcjA0O7scQDQwmKu9PYHsSjdIiv9rtH3xOhYesZv7MafQJpEGsFR2ulVib-oSpWhUSr70wzFkRzbMTntur4R_cqIZC1AFYHJiCAi9EllkLj2fz97/s755/deseo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="755" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKq09EMWVPu1Llxq0cBxLSQvMzHGlSCROrm_yJqKrX-42D5Z3GwscBC9MlBHl4y4ZsQZudlMBxcjA0O7scQDQwmKu9PYHsSjdIiv9rtH3xOhYesZv7MafQJpEGsFR2ulVib-oSpWhUSr70wzFkRzbMTntur4R_cqIZC1AFYHJiCAi9EllkLj2fz97/w640-h195/deseo.jpg" width="640" /></a></div><span style="font-family: georgia;"><div style="text-align: center;">Stills from ‘Deseo/Desejo/Desire’ (2002)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/deseo/deseo.html</a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">In the three instances of the poem, different letters dance together with movements of desire, each instant with its own music. While each instant expresses desire, each language expresses it differently. On the one hand, these languages represent distinct cultures, and the poems thus imitate the cultural conditions of desire. On the other hand, the distinct code or signifiers of each language move in their unique way.</div></span><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlXWl5JW56PizZ_dRz5LcT2rCDpn9rEfLW_CPZWlrg7_iLdaWH0GIYmv5NWyeGTPd75cR6dWS3HUJYYs6rBcH0PvjldyfHVt_SS7hzcchqoF18hNHjavL5fl8zXzk02GEderQfBTuizTx1Q8ueA0AZIkx6HtMUt8Vp6GJoZBUlxpTRSuzMe4WZK-kl/s260/zipchic1b.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="134" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlXWl5JW56PizZ_dRz5LcT2rCDpn9rEfLW_CPZWlrg7_iLdaWH0GIYmv5NWyeGTPd75cR6dWS3HUJYYs6rBcH0PvjldyfHVt_SS7hzcchqoF18hNHjavL5fl8zXzk02GEderQfBTuizTx1Q8ueA0AZIkx6HtMUt8Vp6GJoZBUlxpTRSuzMe4WZK-kl/w206-h400/zipchic1b.gif" width="206" /></a></div><br /><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><span style="font-family: georgia;"><br /><br /><div style="text-align: center;">From ‘¿Metálico o de plástico? (1999)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/metalico.html</a></div><br /><br /><br /><br />Each line of ‘V’s in this poem changes one by one into ‘W’s moving up the page, and then the ‘W’s change back to ‘V’s back down the page, creating the effect of a zipper being zipped and unzipped. </span><br /><br /><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: georgia;"><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><br /></span></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span style="font-family: georgia;"><span class="s1" style="font-kerning: none;"></span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRDBG2-DMfqH9v4XHHvdwdAGShTyC-vQffR5wqX1XeKCGy2626PFyQGog6mxrpbHjkNYMDa3fP_8-J7wZYUW1D2F_HoY1PRbZ8NRrveMzKLl1-6KR8d8asWOMmElXt_DLOc85sOefuMRZ8jbwbJXDKEub8U02qco1shz5Ru-Jduubbcyy31MzgxhR/s316/Primavera.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="236" data-original-width="316" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRDBG2-DMfqH9v4XHHvdwdAGShTyC-vQffR5wqX1XeKCGy2626PFyQGog6mxrpbHjkNYMDa3fP_8-J7wZYUW1D2F_HoY1PRbZ8NRrveMzKLl1-6KR8d8asWOMmElXt_DLOc85sOefuMRZ8jbwbJXDKEub8U02qco1shz5Ru-Jduubbcyy31MzgxhR/w400-h299/Primavera.png" width="400" /></a></div><br /><p></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><br /></p><p class="p1" style="-webkit-text-stroke-color: rgb(0, 0, 0); font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div style="text-align: center;"><span style="font-family: georgia;">Still from ‘Primavera’ (1999)</span></div><span style="font-family: georgia;"><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="#">https://www.vispo.com/uribe/primavera.html</a></div><br /><br /><br /><br />Here, the lower case ‘p’s are added one by one on top of each other; each line grows taller just as flowers do, with the circles of the ‘p’s as leaves and the stem of the ‘p’s becoming the stems of the flowers. <br /><br /><br /><br /><br /><i>*Some of these descriptions are developed from my article, written with Felipe Cussen, The Spirituality of Language in Cecilia Vicuña’s and Ana María Uribe’s Visual Poetry.</i><br /><br /><span style="color: #0f0f0f;"> </span></span><p></p><p class="p2" style="-webkit-text-stroke-color: rgb(0, 0, 0); color: #0f0f0f; font-family: Cambria; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;"><span class="s1" style="font-kerning: none;"></span><br /></p>synaptryhttp://www.blogger.com/profile/05527443304757765333noreply@blogger.com0