Alan,
Thinking today, I realized that a great deal of what you refer to as
womb-like space, is actually a function of where I like to place the
camera in the virtual landscape. In radically close field of view
perspectives, that function as wide-angle zooms, the landscape
distorts, like a fish-eye lens. The sky, mountains, and terrain
disfigure and focus around the central object, in this case, a "cairn"
of balanced rocks. I am most comfortable in these types of tactile,
illusory spaces. I like the implication of
speed/searching/recognition/focus/acuity. My thought is that given the
ambiguous text of the poem, text that is hidden/obscured/secreted, the
reader must rely on visual clues in the image and title for meaning and
context. The title is a line from the starting poem; the poem contents
are mapped into the forms of the landscape, instilling language with
plasticity points to the "soundlessness" of the spoken word. The visual
then becomes the spoken poem.
_______________________________________________________________________
-----Original Message-----
From: Alan Sondheim <[EMAIL PROTECTED]>
To: WRYTING-L@LISTSERV.UTORONTO.CA
Sent: Mon, 9 Jan 2006 01:40:51 -0500
Subject: Re: "Whose irreverent angles protected- new link!
of course - n-dimensional, hyperbolic, negative, jagged, multiply-
connected topologies, etc. I know what you mean, but kinda don't agree
-
Alan
On Mon, 9 Jan 2006, Peter Ciccariello wrote:
http://photos1.blogger.com/hello/2/1002/1024/Whose-irreverent-angles-pro.
jpg
> Are there other kinds of spaces?
>
> -Peter
>
>
