I was, of course, referring to this:
--
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Which I can neither parse nor decipher.
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
>>
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>
>
> --
> Jon Mitten
> [email protected]
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