"Towards a blog poetics": cont'd

The January 13 to 28 blognoscenti posts generated the following sentences, ready to be added to our "Towards a blog poetics" text (see below).

January 13: The first true finished or rather author-made language that the reader rather than the author consciously (or unconsciously) determines through choice of contents is, of course, what emerges.

14:  Learning about the days formed out of  classical shapes (a poetics ready to remix & rush ahead!) is a new knowledge of poetry where what's left out is still something of value.

15: An excellent place, my heart, a god and demon that carries out my Poetry.

16: The book, giving away free poetry, may have the attributes of a single poem.

17: To some translations mean a celebration and mourning, the Soul found in collections & adopted by artists as an introductory defense of the uneasiness of art that reflects upon the paradoxes of masters.

18: Only a film by the poet will be apt to find the once-fruitful visual presentation decorative and sensual.

19:  Instead of dying out here's a beautiful little haiku  & book presented (two sides of the same coin); Pound's masterful Cantos, helping people understand the great poets, copresented with a constraining taxonomy.

20:  In all seriousness, an indecorously veiled poetics, filed under poetry specimen, is a sort of spruced up anthology appearing from around the web.

21:  Look, I write today a series of  grand poems on the premature death of the anthology.

22: The title of a poem will be a lyric gift encountered often.

23: This is a recurring refrain, the divine breath that solicits any and all types of poetry.

24: The characteristics of 'visual poetry' convey multiple meanings and (say it) blank faces: a complete range of poetry.

25:  Paradise Lost, a science-fiction piece, in another Pulitzer prize-winning book of poems, is any New-Poetry.

26:  The ancient theatre in a single poem, all this waiting for inspiration, catches us sometimes going to a ransacked seventeenth century."

27: After a brief break I think of literary conversations, works, poets, & schools, compelling videopoems or new trends or Mayakovsky and Mathematical Poetry.

28:  Having just fallen in the forests and least equipped to search for large understandings, I marked, as is my custom, four of the stars of many talented poets.

I will always capitalize 'Sentence' to mark its significance as a product of blognoscenti sources.
Again, I'm aiming for a standard 10-page long 'Intoduction', with about 12-13 Sentences per page (or an 'Introduction' of roughly 130 Sentences or so). After this I will post individual blognoscenti citations by numbered entries and not by date (as I've been doing): numbered entries appear in parentheses after each day on which a Sentence is generated. Sentences can be easily verified (and fact-checked, as it were) by counting them in sequence and tracing them to their original sources (whatever the date) in the blognoscenti sources site.

Every dated entry is given an individual numerical count corresponding to the number of times I've generated a Sentence to that point; for example, the 4th sentence (in paragraph 1 of 'Introduction' to primary text) corresponds to the 05 January 2011, (4) citation, reading on the 5th of January, 2011, the 4th day of my blognoscenti exercise, I generated the following Sentence for my blog poetics text:

"If the traditional poem is a mirror inserted between a straightforward world and itself, then it is an ill wind; the contemporary poem, however, is in the mirror, a silver book of danger and music."

As I've said, in future updates citations will be given by individual (parenthesized) entry only.

In this way I am not restricted to a strict chronological timetable so much as led by a judicious estimation of the number of actual times Sentences ought to be generated in order to keep my primary document going. If I should stop for a few days or slacken the pace a bit, the text resumes at exactly the point where it was left off without any messiness surrounding dates.Both purists and readers with an archival bent should be happy. Since I regard each blognoscenti source as a bibliographical entry, I acknowledge author and textual source, & regard them both as materials to be used in my growing exposition on blog poetics, hoping to avoid any 'intellectual property' or copyright issues.

At some future point (when at least the Introduction has been satisfactorily completed) I can see myself converting my blog text into a PDF file or something or perhaps even a "Blogger" Blog2Print book as advertised here.

It is to be remembered the text as is comprises of only citations-generated Sentences, still awaiting a certain degree of final authorial judgement & control. Determinations as to format, meaning and direction will be determined by a kind of intuitive reading of the materials that've already accumulated through blognoscenti sources. Recommendations and suggestions for improvement are always welcome.

With the addition of Sentences extending from the 13th to 28th of January the primary Towards a blog poetics text ('Introduction') appears below:

__________________________


A butterfly, nude and flower, traditional signatures of the poet's language, do more than say: they live, walk, hear & have being (like fires of war).The modern poem, however (if ever there was a candidate for Ionian tragedy!), is a meditation on language—a retrievable and complex one. A refuge from the disturbing visuals of Birth, Death, Time & Self: a type of "sublimely dull" beekeeping, or a parting of the clouds, since the world is read during the moment and then inventoried into rare books. If the traditional poem is a mirror inserted between a straightforward world and itself, then it is an ill wind; the contemporary poem, however, is in the mirror, a silver book of danger and music.

We alone can be grateful that genre, subject and individual poems are just a means of presentation, as if we're first witnessing the successful artist, poet and writer from several inconceivable points of view.The poet's arable couplet, minimalist and at bottom a mash-up, can still be entertaining. Perhaps the best known poem there is (or isn't) is, yes, a confession & if it'd wanted to try to get it right could follow the whole poem closely as an "End of the World" or the "Goddammit" type & continue to do so. Free to clear the tone or style of the intelligibles, you can go to the fields & birds, like a deadbeat poet. Like faces on a canvas, stories and words that mean too many things & don't emanate from the village hearth, lie dead, even in early spring. More a contest for the best minds than a poem, a peep show of perpetual sequences and good only for fools, the experimental may be the most gorgeous jellyfish I've seen.

How often does the act of getting something down, and poetry in general, like an elf clutching at a book in a bookstore, depend on the Judge's ruling—Gad!—, even setting rules to muddle things a bit? What emerges, of course, is the first true finished or rather author-made language that the reader rather than the author consciously (or unconsciously) determines through choice of contents. Learning about the days formed out of classical shapes (a poetics ready to remix & rush ahead!) is a new knowledge of poetry where what's left out is still something of value.An excellent place, my heart, a god or demon that carries out my Poetry.The book, giving away free poetry, may have the attributes of a single poem.To some translations mean a celebration and mourning, the Soul found in collections & adopted by artists as an introductory defense of the uneasiness of art that reflects upon the paradoxes of masters.

Only a film by the poet will be apt to find the once-fruitful visual presentation decorative and sensual. Instead of dying out here's a beautiful little haiku & book presented (two sides of the same coin); Pound's masterful Cantos, helping people understand the great poets, copresented with a constraining taxonomy. In all seriousness, an indecorously veiled poetics, filed under poetry specimen, is a sort of spruced up anthology appearing from around the web. Look, I write today a series of  grand poems on the premature death of the anthology.The title of a poem will be a lyric gift encountered often.This is a recurring refrain, the divine breath that solicits any and all types of poetry. The characteristics of 'visual poetry' convey multiple meanings and (say it) blank faces: a complete range of poetry.

Paradise Lost, a science-fiction piece, in another Pulitzer prize-winning book of poems, is any New-Poetry.The ancient theatre in a single poem, all this waiting for inspiration, catches us sometimes going to a ransacked seventeenth century." After a brief break I think of literary conversations, works, poets, & schools, compelling videopoems or new trends or Mayakovsky and Mathematical Poetry.Having just fallen in the forests, the least equipped to search for large understandings, I marked, as is my custom, four of the stars of many talented poets.

"Towards a blog poetics": cont'd

The January 6 to 12 blognoscenti posts generated the following sentences, ready to be added to our "Towards a blog poetics" text (see below). I'm beginning to see the sort of tongue-in-cheek reception of experimental poetry everywhere the primary document is turning into, with perhaps a further discussion in the works of the blog as the only hospitable place for it.

Again, I'm aiming for a standard 10-page long 'Intoduction', with about 12-13 sentences per page (or an Introduction of roughly 130 sentences or so).
___________________________

January 6 "I [We] alone can be grateful that genre, subject and individual poems are just a means of presentation, as if we're first witnessing the successful artist, poet and writer from several inconceivable points of view."

7 "The poet's arable couplet, minimalist and at bottom a mash-up, can still be entertaining."

8 "Perhaps the best known poem there is (or isn't) is, yes, a confession & if it'd wanted to try to get it right could follow the whole poem closely as an "End of the World" or the "Goddammit" type & continue to do so."

9 "Free to clear the tone or style of the intelligibles, you can go to the fields, the birds, like a deadbeat poet."

10 "Like faces on a canvas, stories and words that mean too many things & don't emanate from the village hearth, lie dead, even in early spring."

11 "More a contest for the best minds than a poem, a peep show of perpetual sequences and good only for fools, the experimental may be the most gorgeous jellyfish I've seen. "

12  "How often does the act of getting something down, and poetry in general, like an elf clutching at a book in a bookstore, depend on the Judge's ruling—Gad!—, even setting rules to muddle things a bit."


                                        Towards a blog poetics: Introduction
                                                     

A butterfly, nude and flower, traditional signatures of the poet's language, do more than say: they live, walk, hear & have being (like fires of war).The modern poem, however (if ever there was a candidate for Ionian tragedy!), is a meditation on language—a retrievable and complex one. A refuge from the disturbing visuals of Birth, Death, Time & Self: a type of "sublimely dull" beekeeping, or a parting of the clouds, since the world is read during the moment and then inventoried into rare books.If the traditional poem is a mirror inserted  between a straightforward world and itself, then it is an ill wind; the contemporary poem, however, is in the mirror, a silver book of danger and music.

We alone can be grateful that genre, subject and individual poems are just a means of presentation, as if we're first witnessing the successful artist, poet and writer from several inconceivable points of view.The poet's arable couplet, minimalist and at bottom a mash-up, can still be entertaining. Perhaps the best known poem there is (or isn't) is, yes, a confession & if it'd wanted to try to get it right could follow the whole poem closely as an "End of the World" or the "Goddammit" type & continue to do so. Free to clear the tone or style of the intelligibles, you can go to the fields & birds, like a deadbeat poet. Like faces on a canvas, stories and words that mean too many things & don't emanate from the village hearth, lie dead, even in early spring. More a contest for the best minds than a poem, a peep show of perpetual sequences and good only for fools, the experimental may be the most gorgeous jellyfish I've seen.

How often does the act of getting something down, and poetry in general, like an elf clutching at a book in a bookstore, depend on the Judge's ruling—Gad!—, even setting rules to muddle things a bit?

The 'blognoscenti' project: a word on methodology and format to be adopted from this point on

I have posted enough 'blognoscenti' citations (over the past 4 days) to indicate both the type of poetical matter my proposed "Blogger poetics" text will require as well as the frequency with which they daily appear or can be accessed. In order not to clutter my "Word-Dreamer: poetics" pages, all future 'blognoscenti' citations will appear now in a separate "Word-Dreamer: blognoscenti sources" blog, where readers are encouraged to examine the daily blognoscenti references & leave comments. Only text as it emerges out of the primary blognoscenti sources will appear here in regular instalments.

To generate a text is a matter of translating a day's worth of citations, no matter the number or degree of individual complexity, into a unit of text: a page, paragraph or a single sentence. I've chosen a basic sentence unit which isn't to be seen as a product of "chance or random" selection but a delineation of an emerging idea identifiable among the individual references. This is a clearly syntagmatic bias that's preferable to working with anything smaller than words, phrases & clauses. Of course, articles, transition words & the most basic connectives can be freely inserted to give an emerging idea some leeway & adaptability to the environing text.

While sources are randomly gathered, composition requires a certain amount of attention to the arrangement of parts. And towards the end of generating a text through sentence-units it will be necessary to join into a unified narrative the syntactical elements present in each individual citation (by selecting, for example, a subject from the first citation, a predicate from the second, phrase from the third, object from the fourth, adjective phrase from the fifth, etc). In the "blognoscenti sources" blog I will write a sentence at the end of every day's citation work.

This is not a pure "appropriation" exercise in the sense of parts of the original being incorporated into text without change: rather an author-directed one, with the scope, limits and direction of the whole suggested  by the primary materials.

The title of the text is provisionally entitled "Towards a blog poetics".

Below are the first four sentences from 02 January 2011 to 05 January 2011 and the first (rough) paragraph of an introduction to our blog-generated text. Any movement from primary blognoscenti references to sentences to paragraphs will always necessarily entail revision. I would like to call "Towards a blog poetics" an open-text to the extent that readers are always welcome here to suggest changes but without being allowed to do so directly. Updated and expanded versions of the primary text will be posted from time to time:

02 January 2011 A butterfly, nude and flower, traditional signatures of the poet's language, do more than say: they live, walk, hear & have being (like fires of war). 

03 January 2011 The modern poem, however (if ever there was a candidate for an Ionian tragedy!), is a meditation on language—a rather retrievable and complex one at that.

04 January 2011 It's rather a refuge from the disturbing visuals of Birth, Death, Time & Self: a type of "sublimely dull" beekeeping, or a parting of the clouds, since poem is be read during the moment and then inventoried in rare books.

05 January 2011 If the traditional poem is a mirror that inserts itself between a straightforward world and itself, it's an evil wind that blows; the contemporary poem, however, is in the mirror, a silver book of danger and music.

____________________________

                                  Towards a blog poetics: Introduction.

A butterfly, nude and flower, traditional signatures of the poet's language, do more than say: they live, walk, hear & have being (like fires of war).The modern poem, however (if ever there was a candidate for Ionian tragedy!), is a meditation on language—a retrievable and complex one. A refuge from the disturbing visuals of Birth, Death, Time & Self: a type of "sublimely dull" beekeeping, or a parting of the clouds, since the world is read during the moment and then inventoried into rare books.If the traditional poem is a mirror inserted  between a straightforward world and itself, then it is an ill wind; the contemporary poem, however, is in the mirror, a silver book of danger and music.