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 >> ÏοίηÏÎ¹Ï , >> 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 -*-*--**---***-----*****--------******** -*-*--**---***-----***** -*-*--**---*** -*-*--** -*-* -*
