Oh, no, wait. I see. On Wed, May 6, 2009 at 4:33 PM, \\/////\\" <[email protected]> wrote:
> Dear Jon, > > What Glerm wrote makes perfect sense, it's just not logical in a linear > way. It requires some work to glean a meaning, but there is a reward for > it. It's also a way to separate the wheat from the chaff. > > A first step to actually enjoying all this is to learn about Concrete > Poetry, then the remainder of items will become easier to digest. > > http://en.wikipedia.org/wiki/Concrete_poetry > > Development > > The term was coined in the 1950s. In 1956 an international exhibition of > concrete poetry was shown in São Paulo, Brazil, inspired by the work of > Carlos Drummond de Andrade. Two years later, a Brazilian concrete poetry > manifesto was published. One of the earliest Brazilian pioneers, Augusto > de Campos, has assembled a Web site of old and new work (see external > links below), including the manifesto. Its principal tenet is that using > words as part of a specifically visual work allows for the words > themselves to become part of the poetry, rather than just unseen vehicles > for ideas. The original manifesto says: > > Concrete poetry begins by assuming a total responsibility before > language: accepting the premise of the historical idiom as the > indispensable nucleus of communication, it refuses to absorb words as > mere indifferent vehicles, without life, without personality without > history - taboo-tombs in which convention insists on burying the > idea.: > > ------ * > > though the concern here is not particularly with poetry, it is more > visual, but the fragmented word phrases do have an assembled meaning, > though not one with a beginning, middle and end > > helps to know your history too (as it repeats so very often). There was a > fellow by the name of Kurt Schwitters who can very much be blamed for this > style of word use developing: > > http://en.wikipedia.org/wiki/Kurt_Schwitters > > Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 - 8 January 1948) > was a German painter who was born in Hanover, Germany. > > Schwitters worked in several genres and media, including Dada, > Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic > design, typography and what came to be known as installation art. He is > most famous for his collages, called Merz Pictures. > > --------- --- *** > > one more "must have" is sound poetry: > > http://en.wikipedia.org/wiki/Sound_poetry > > History and development > > The vanguards of the 20th Century > > While it is sometimes argued that the roots of sound poetry are to be > found in oral poetry traditions, the writing of pure sound texts that > downplay the roles of meaning and structure is a 20th century phenomenon. > The Futurist and Dadaist Vanguards of the beginning of this century were > the pioneers in creating the first sound poetry forms. Marinetti > discovered that onomatopoeias were useful to describe a battle in Tripoli > where he was a soldier, creating a sound text that became a sort of a > spoken photograph of the battle. Dadaists were more involved in sound > poetry and they invented different categories: > > •Brutist poem: it is the phonetic poem, not so different from the futurist > poem. Invented by Richard Huelsenbeck. > > •Simultaneous poem: a poem read in different languages, with different > rhythms, tonalities, and by different persons at the same time. Invented > by Tristan Tzara. > > •Movement poem: is the poem accompanied by primitive movements. > > Later developments > > Sound poetry evolved into visual poetry and concrete poetry, two forms > based in visual arts issues although the sound images are always very > compelling in them... > > > > Hope that helps. > > Kindest Regards, > CultureV!rus > > > > > P.S. Apologies for the current state of http://culturevirus.org, I've been > battling some hackers, presumably from Russia. Hopefully something more > pleasant will be there soon. > > > > > > > > > > > > if you can't eat it fuck it or use it for shelter what good is it? > > > > > > <message date="DATE" author="AUTHOR"> Jon Mitten</message> > > That made about as much sense as the \\\////\\\\ posts. > > Not that I'm wanting to get into philosophical discussions about the > > creation or recreation of anything in particular. > > > > Egg came first: In the bEGGinning.... > > > > I haven't read the Torah much, but I don't remember the mentioning of a > > chicken in the scroll. > > > > Jon Mitten > > > > > > > > On Wed, May 6, 2009 at 1:40 PM, glerm soares <[email protected]> > wrote: > > > >> > >> > >> 2009/5/6 Joseph Gray <[email protected]> > >> > >>> heh, oh yeah, it is. Though I have no control over the Pixa mailing > >>> list. Glerm can unsubscribe the bastard there. > >>> > >> > >> I like him/her... > >> > >> Hope it is not tottaly a bot, anyway is welcome to this vortex. And if > >> it's > >> a total bot, it's nearly "cultured" (hahaha fala aê coisa)... > >> > >> I don't belive that a "non"-sense exists. There's a paradox about > >> "nothing" > >> that maybe is better explained by some kind a self-replicable > >> ποίησις , > >> really meaning it. > >> > >> If he/her could express some of the obscure syntax part maybe we can go > >> beyond the boundaries of English translated thoughts. > >> > >> Egg came first. The text says "In the Beggining there was nothing" - but > >> don't forget this riddle: there was the beggining. > >> > >> letherebeagain > >> > >> fin again, > >> > >> riverrun, > >> > >> leite de pedra > >> > >> cheers, > >> glerm > >> > >> -*-*--**---***-----*****--------******** > >> Harvard & Roy Arts Council > >> list options: > >> http://grauwald.com/mailman/listinfo/hrac_grauwald.com > >> -*-*--**---***-----*****--------******** > >> -*-*--**---***-----***** > >> -*-*--**---*** > >> -*-*--** > >> -*-* > >> -* > >> > >> > > > > > > -- > > Jon Mitten > > [email protected] > > -*-*--**---***-----*****--------******** > > Harvard & Roy Arts Council > > list options: > > http://grauwald.com/mailman/listinfo/hrac_grauwald.com > > -*-*--**---***-----*****--------******** > > -*-*--**---***-----***** > > -*-*--**---*** > > -*-*--** > > -*-* > > -* > > > > > -- > "":>"":":":<"<":<": > ///////////// > "":>"":":"<:<"<":<":":<":":<":<"<":<": > http://culturevirus.org > "":>"":":"":":<":":<":<"<"":":<:" > :<":":<":< > "<":<": > "":>"":":"":":<": > ":<":":""<": > "":>"":" > :"":": > > > -*-*--**---***-----*****--------******** > Harvard & Roy Arts Council > list options: > http://grauwald.com/mailman/listinfo/hrac_grauwald.com > -*-*--**---***-----*****--------******** > -*-*--**---***-----***** > -*-*--**---*** > -*-*--** > -*-* > -* > -- Jon Mitten [email protected]
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