robertogreco + ezrapound   2

Seeing from Between: Toward a Poetics of Interloping : George Quasha : Harriet the Blog : The Poetry Foundation
"Poetry is translation. It takes one kind of experienced or thought reality and turns it into language—a linguality or language reality that is conscious of itself in a way that’s relatively unusual. Of course this is obvious enough, and yet what’s not always so clear is how much the view of language we hold (actively or passively) determines the outcome. I suppose that, due to the attention given rather specialized emphases in recent poetics (language poetry, conceptualism, Oulipo, etc.), poets often find it necessary to takes sides on, or at least defend, values designated by words like “content,” “politics,” “experience”; this is understandable and may be useful to them and others (recent blogs by Camille Rankine and David Lau are particularly strong statements), especially in a context where respected poetic approaches appear exclusive in one way or another. Yet the simple fact that privileged words like “content” and “politics” do not have consistent meaning (beyond what a poet’s own work or a specific social context supplies) indicates that whatever we defend is not necessarily there the way we might believe it is. There are poets, as well, who center their activity at one level or another on this (post-Wittgensteinian) problematic of language, motivated perhaps by a certain vision of language or by a commitment to conscious language as intrinsically transformative. It should be obvious that focus on the substance of language itself does not mean that these poets are not concerned, even passionately, with issues like gender, racial equality, ecology, or the menace of capitalism, militarized police and State power. They may show up at the barricades, even if their work is not written to be read at the barricades.

Significant new directions in poetry have often come from outside the literary frame as such, and this might alert us to how much innovative poetic values and approaches are not only “literary” in nature, but are conscious attempts to embody radically alternative reality views by way of language. (In an important sense poetry is pre-literary, and it is arguably fundamental to the nature of language itself. Literature, in this perspective, is historically later and is constructed on poetic foundations while often running counter to poetic values. We may come to see as well how poetry can be post-literary.) Looked at in this way, poetry may be seen as language you must learn—learn by way of its implicit poetics—in order to participate in alignment with its principles. To see this more clearly I suggest a liminalist approach, one foot in a literary poetic and one foot not."

"Arakawa, collaborating pervasively with Gins, created charged language spaces on canvas, poetic action zones that challenge habits of reading, viewing and thinking at a level comparable to Blake’s all-out assault on limits of consciousness. Their 1979 The Mechanism of Meaning: Work in progress (1963-1971, 1978) unites painting and book in a way that creates a powerful event in both visual art and poetics. They have worked conceptually in a way related to both Dada and Duchamp’s developments thereof, but they always focused on an inquiry into certain principles, which they thought to have implications far beyond art alone."

"All intelligible connection with the world for Helen Keller is a language event occurring physically between her and another person. She + another create together a liminality that is the known/knowing world. Blank is also the space of an indeterminacy of agency: who/what’s doing the doing—what Arakawa/Gins call “the perceiving field.” I think here of Maurice Blanchot’s fiction with a poetics, Thomas the Obscure (Station Hill Press, 1988), in which at a certain point of shifting textual perspectivity it takes us performatively into the book reading the reader. His notion of récit (story, narrative, a telling) has resonance for all of the above: “not the narration of an event, but that event itself, the approach to that event, the place where that event is made to happen.”"
georgequasha  interloping  poetics  poetry  madelinegins  oulipo  arakawa  autopoesis  buckminsterfuller  happenstance  via:bobbygeorge  hellenkeller  johncage  wittgenstein  melopoeia  metpoeia  liminality  logopoeia  glossodelia  ezrapound  synergy  tensegrity  williamblake  susanbee  phanopoeia  sound  soundpoetry  marcelduchamp  mauriceblanchot  paulklee  charlesolson  axialpriniciple  garyhill  connections  fiction  narrative  translation  alfrednorthwhitehead  poems  writing  liminalspaces 
april 2014 by robertogreco
Parataxis - Wikipedia
"Parataxis (from Greek for 'act of placing side by side'; from para, beside + tassein, to arrange; contrasted to syntaxis) is a literary technique, in writing or speaking, that favors short, simple sentences, with the use of coordinating rather than subordinating conjunctions.[1] It can be contrasted with hypotaxis.[2]

It is also used to describe a technique in poetry in which two images or fragments, usually starkly dissimilar images or fragments, are juxtaposed without a clear connection. Readers are then left to make their own connections implied by the paratactic syntax. Ezra Pound, in his adaptation of Chinese and Japanese poetry, made the stark juxtaposition of images an important part of English language poetry."

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language  conjunctions  hypotaxis  math  cliffordparallels  williamkingdonclifford  ellipticstate  waitingforgodot  samuelbeckett  charlesdickens  friedrichthiersch  edwadmorris  ezrapound  greeks  techniques  literature  poetry  howwewrite  writing  parataxis  from delicious
november 2012 by robertogreco

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