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Poem by Nari
visual
poetry
from the
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DEEP
STATEMENT
-
a
complex
semantic
traditionalitselfatACOMPLEXSEMANTICLEV
erialsignofthenewheADFORASEMANTICFIELD
eonlyinacultureoftrADITIONALWRITINGWHE
ceptionasafundamentALELEMENTITISCLEART
adicallyfromthenostALGICATTITUDEWHICHS
crelationwithphysicALLIFEREVIVALOFTHES
dailytechnicalstyleAMONGTHEGENERALRULE
tutesconcretevisualANDSOUNDPOETRYFACED
thecrisisofacritureANDSTRETCHEDOUTASAM
turismtotheconcreteANDVISUALPOETRYOFTH
inkedtotherhetoriclANGUAGELINKEDTOEPIP
thehistoricalavantgARDESANDPUTINITSPLA
rguethatlanguageisfASCISTASROLANDBARTH
technicalformsofrelATIONBETWEENSIGNIFI
otothenewmeaningsthATNEWFORMSCANPRODUC
poetryitseemstomethATPOETSHAVEFOUNDTWO
ceofmankindfromhugoBALLSPHONETICPOEMST
ursmediaorsuggestedBYTECHNOLOGYIFONEWO
tyforthispracticebeCAUSEITEXPOSESTHESI
lwiththenewnessofteCHNOLOGIESANDWHENWE
onversifiedandnondeCLAMATORYPOETICSNOT
ectivewhichnourisheDCOMMONLYSEENINVISU
trendsabovedescribeDEACHINITSOWNBETWEE
llmustexperiencetheDIFFERENTKINDSOFSIG
echnologiesundoubteDLYANEMBLEMOFTHEPOE
mplexofcodessignsanDTECHNIQUESDIRECTED
ducenewdimensionsanDTHATWECANFINDFROMF
possibletounderstanDTHEIMPORTANCEOFTHE
thisofreinventionanDVARIATIONORTRANSFO
oughthechangingofthEAESTHETICSIGNWHATD
cagreementaboutthemEANINGOFTHOSETERMSI
ewhichpaulzumthorssEARCHFORTHEORALESSE
tofpermanentchangerECENTSOUNDANDPERFOR
blimeandanapathyofrECEPTIONACOROLLARYO
thesocialsystemofthECONSTANTINVENTIONO
municationestablishEDBETWEENAUTHORWORK
sthattechnologicalmEDIASUGGESTFORORGAN
irwhatistheimmediatEEFFECTOFTHISOVERVI
iscoursecorrecttousEEXPERIMENTALPOETRY
theoriesagreewiththEIDEATHATOURTHOUGHT
mergesasaneffectofsEIZEUPONTHEVERBALCO
hinkitiseverybodyevENTHOUGHTHEYDIDNTHI
ldecadenceofthepresENTSINCEFUTURISMOFT
ontexperimentsaslitERARYTHEORYHASBEENT
nanditsindexicalexpERIMENTALPOETRYTODA
rimentalpoetrybeundERSTOODAFTERTHEBYAN
signsareasignsinordERTOFILLTHETECHNOLO
lwritinginthiswayevERYANDTHESETHEORIES
cadeshavebroughtathESENSEOFREVOLUTIONO
fthelastfourdecadesESPECIALLYSIGNSASRE
ovokearupturewiththETRADITIONALRHETORI
esinnewthiscannotprEVENTTHEMFROMEXPERI
heexistenceofaworkoFARTTHEPOEMRECEPTIO
structionswhichcanoFFERTHEMAPARADIGMOF
sandnewperspectivesFORARTISTICLANGUAGE
sgivesrisetoanotherFORMOFRATIONALITYAN
odistinguishhimselfFROMHISMASTERSTHESE
waysofcombiningcuboFUTURISMPHONETICPOE
atthediscourseofimaGESOUNDANDWORDCANPR
ewpossibilitiesthouGHTFORAESTHETICSIGN
wfeaturesoftechnoloGICALSIGNSNEVERTHEL
andmaterialtechnoloGIESTHEENDOFCIVILIZ
humanismandthecominGOFAPOCALYPSEWHATIW
orcesthesystemoflanGUAGEWECANESCAPEFRO
ssandstylisticconfiGURATIONOFTRADITION
rmanentsensecenturyHASNOTYETBEENEXPLOR
nasatouchableeventtHATMAKESFORMINNEWSY
epoemitiswellknowntHATTHEREWASNOTASIMP
esitconfrontedalsotHEENDOFAUTOPIANPERS
eareabletoperceivetHEFRAGILITYOFTHELIN
nttopointoutisthattHEIADOPTTHETERMEXPE
mationoftheworldoftHEPASTANDTHEPERPETU
topianprojectstogetHERWITHAFAILUREOFAV
nbelastfourdecadestHETHEMEOFTHISMEETIN
orkedasofformandtecHNIQUESOFWORKOPENED
entingwiththenewtecHNOLOGIESTHISWAYITI
anythemysticapproacHTOWARDSTECHNOLOGYC
oninhispolemicalexhIBITIONCALLEDINTERS
mentalpoetrytodaywhICHINCLUDESASECONDI
ltureofnewtechnologIESWAYSTHATISITEXPL
tthisispossibleonlyIFTHISLANGUAGECONST
zingvisualandsoundsIGNSGENERALCRISISOF
dasitcouldbethenewkINDOFEXPRESSIONCHAN
dermanypoetsfromfixINGADISTINCTIVEEXPE
iesbeginsbyquestionINGANDGIVINGUPFORMA
weneedfirstofalltolINGUISTICANDSEMIOTI
lasthematerialworldINSPITEOFTHEFACTTHA
avebeenofferedwithtINTERPRETATIONEXPER
herethecomplexrelatIONBETWEENREALITYAN
ssaidatstakeastheunIQUEMATERIALSIGNOFP
iteremploysthetechnIQUESOFEXPERIMENTAT
dpoetrysoundpoetryvISIVEPOETRYANDSOONI
lessitisdividednotwITHSTANDINGTHEOLDMA
ksonpaperorwithtradITIONALNEVERTHELESS
evolutionofsensibilITYANDMINDAESTHETIC
wherethepoetworksliKEATECHNOLOGIZEDMUS
rtwhichseemstobemarKEDBYASEARCHFORAFOR
fcreationinordertoeLABORATEASPECIALSTY
anothereffectsitwouLDKEEPTHESPIRITOFEX
bytheutopiaofnonstyLEANDBYTHERECIPESFO
materialityoftechnoLOGICALSIGNSTHEIMMA
talconcreteandvisuaLPOETRYDURINGTHETOP
relationmaybefortheMASTERSHASIMPORTANC
emthisleadstoanenigMATICBECAUSEITIMPOS
60stheauthordoesnotMATTERWEMUSTCONSIDE
sagenerictermwhicheMBODIESEVERYCREATIO
rylettrismconcretisMELECTRONICPOETRYDE
rumsacerdosthepredoMINANTLYINVISUALPOE
ryofthisendofpoetryMUSTADDRESSITSELFAL
ebecomemeaninglessiNASOCIETYSATURATEDB
eofinnovatingthemaiNATTEMPTWASINTENTIO
imentinasmuchasitcaNCELSTHECORPOREALSI
lpoetrycommunicatioNCOUNTERBALANCINGTH
itethecrisisofpastaNDAUTOPIANPROJECTOF
theemptyingrhythmsaNDEVENNEWCONCEPTION
inaconceptionoftheiNDISPUTABLESUPERIOR
ecuritysignificatioNEXPERIMENTALPOETRY
saprocedureofthinkiNGANDGUIDESUSTOACER
atinterpretationamoNGTHEINSTABILITYOFN
possibilitiesoforgaNIZATIONOFTHETECHNI
bytheideaofagainstiNMYPRACTICEASAPOETI
xperimentalpoetrycaNNOTEXPLAINTOOMUCHU
verseofintentiontoiNNOVATEJUSTFORTHESA
taxesrequiredbytechNOLOGYIFONEWORKSWIT
epotentialityfortraNSGRESSIONCAUSEDBYD
ntgardehalfofthetweNTIETHCENTURYAVANTG
rcenturyinthefirstiNTRODUCINGASIGNOFDA
hichappearedinourceNTURYFUTURISMDADASU
thefuturefromthereiNVENTIONOFTHEPRESEN
isthechiefguidebutiNWHATSENSECANTHEEXP
atexperimentalheredOESNTCARRYTHESENSEO
tpeculiarconditionpOETSPUTTHEMSELVESCO
dbytheintersemiosisOFCONTEMPORARYMASSC
realismafterdecadesOFEXPERIMENTSWITHSO
ueinnovationtechnolOGICALPHASEMUSTWORK
ofifthefirsttechnolOGICALPHASEWASMARKE
xperimentalhascometOMEANEXACTLYTHEOPPO
fartandconsumersincONCEPTIONOFREALITYB
etheserecipesfunctiONEDASANIMPERSONALA
neroftheirapplicatiONOFMEDIATHISTRENDI
tspoeticsofrevolutiONPARTICULARPROCESS
erimentalpoeticstocONSIDERTHEPRIVATEUN
edtohistoricalfashiONSOFEXPERIMENTALPO
totwophasesasseemstOOCCURINEVERYARTOFO
isimposedindeedinsaOPAULOIORGANIZEDATH
yasanaxisforcontempORARYTHEREALMOFTECH
tionarupturewiththeORDEROFTRADITIONALT
lylifewasanattempttORECONCILEARTANDLIF
wedpoetstocreatenewORGANIZATIONINSIDET
specificproblemsoffORMTOINTHEFIELDOFEX
dsandsignifiersnewpOTENTIALITIESFORFOR
ndandimageeffectsexPERIMENTALALLOWSHIM
wpresentedaboveinexPERIMENTALWHOARELIN
penedutopiaapluritoPIAWHICHEXPRESSESAP
gnpoetryinwhichiproPOSEDTHATPOSTULATIO
pierregarniersconcePTOFAPRIMORDIALSOUF
tneedtherevivalofveRBALDISCOURSEASITOC
yingtoestablishaccoRDINGTOTHISEXPLAINE
redthematerialfeatuREOFSIGNSASWELLASTH
iblewordsakindofsecRETANDLOSTPOETICSOF
lofinterpretationvaRIEDDEGREESOFKINDOF
erimentationthennouRISHEDESTABLISHABAS
eovercomingofthespiRITSOFAVANTGARDEAND
whaticonceiveasinteRSIGNPOETRYMUSTCONF
dcomplexitythatsignSCONTAINWHENTHEYARE
aysoneisatrendofthoSEPOINTOFVIEWEVERYW
leandtopoememergesaSIMMATERIALANDINTAN
hefactthattransgresSIONANDCONDITIONEDB
ancepoetrytheyemphaSIZETHECHARACTERIST
lturetodateasifitalSOBROUGHTTHEPOETPHY
pbytheoldavantgardeSOFREALITYWHICHREIN
butavarietyofaspectSOFTHESTRANGENESSHA
ormulaworkableimperSONALLYBYTHEYDIFFER
eesteemsuchpoetrymuSTBEGINWITHTHEOPENE
rkoftheintersemiosiSTHEMATERIALITYOFTH
observedfrommcluhanSTHEORYOFAPENTECOST
avebeentryingtoinveSTIGATEESPECIALLYTH
yofdailyroutineseemSTOMEANSMEDIAMIGHTN
ofavantgardepoeticsSTYLECANBEJUSTIFIAB
signintotheworkofarTASANINDEXOFDAILYLI
epoeticsofexperimenTATIONAPOETICSWHICH
rdepoetryexploredmaTERIALANDFORMALHENO
imenttodesignatenotTHEPARTICULARPROCES
ilylifesroutineofofTHEWHOLECENTURYONTH
trytheoptionistowriTINGBUTTHEPOEMASACO
ticlevelofcommunicaTIONTHESELASTTHREED
newinspaceandtimebuTITRYTOESCAPEFROMTH
etheothertendencyisTOADOPTNONMATERIALI
initisalsoimportantTORETHINKTHEROLEOFR
smeaninaperiodofculTUREWHENEVERYACTIVI
signsandthoughtlangUAGEANDREALITYPOETR
nbehalfofreadingvisUALANDSOUNDTECHNOLO
swayareabletodialogUEWITHTHEADVENTOFAC
creationofpoemsfeatUREOFPOSTAVANTGARDE
icallyrenewedtodiscUSSTRENDSINEXPERIME
ainconceptbesidesimUSTOBSERVETHATTHETW
rchforaspecificambiVALENTPHENOMENAAIME
ofthoughtanexpressiVELANGUAGEBASEDONNE
ofpoetrybyinsertingVICIOUSCIRCLEONLYIF
etuallyuptherealmofVISUALANDSOUNDEFFEC
ologicalfeaturesasaWAYTOBRINGPOETRYPER
lreintegrationoftheWORLDTOOFAMBIGUITYA
otherhandmaterialitYANDORGANIZATIONALL
rynortherevivalofamYSTICALMODEOFPROSPE
sandmusttrytofindwaYSTOORGANIZETHESEMA
ofrealitysuggestedbYTHETECHNOLOGICALSA
esexperimentalpoetrYTOARECEPTIONMODIFI
icalproductsofpoetrYWITHTHERICHNESSSOU
theformandtheorganiZATIONOFTHESIGNSINA
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