Arrangement :: Coolidge

Coolidge undermines "structure" and "composition" to re-enstate "arrangement" containing within itself a "range". Clark Coolidge goes on after a brief mention of the obsession with science fiction he had as a teenager, to speak of art forms and his own coming into art and poetry. He cites a few pages from a particular science fiction novel that engaged him in his works on arrangement. Such is the same as his younger experiences as a six year old at a natural muesuem with his parents. He was witnesses from the perspective of a six year old the molecular arrangement of crystals, quartz, agates, opals and the like. The natural attraction towards rocks correlates with his arrangement philos : one can view the rocks both as in an arrangement at the museum (agates and crystals in one display, rose quartz and serpentine in the other), as well as rocks being actual arrangements of molecules. Perhaps the six year old was not quite understanding this phenomenon but not so undoubtedly that he did not understand the powers of each crystal. He speaks about the rocks all having different energies. i personally hear moonstone is good for divinition and visioning. I would have to hold it and ask it and talk it to mostly to know, this is the intuitive, applicational science of rocks or geology. Coolidge speaks of his own brief sojourn into geology however in the fifties at the time when the science of geology empiricalized, methodized and became mathematical oriented. Let us not digress obsessively.

Spots. Like Sancho Panzo of Castanada, the idea that everyone has a spot but add the s of distinction. We all have our spots. This is the latest word. We all use forms. This is the latest of the forms. Never just one due to Collidge, probably since art and poetry are not fixed or settled. There is more than one device going on here and the work is definately not fixed. I would like to think of the word as moving through time with us all, barreling into space and this is true enough. Literally, and in the most literal sense art and poetry are molecules. These molecules create ink on the page or paint on the canvas. These molecules are always moving! Always changing and proved scientifically. That is well enough. The thought that come from behond the physical manifestation are indeed changing at a faster pace. As fast as the minds themselves can move, as fast as the souls of the creators can evolve (to be dramatic). I have the belief that the word will gain validity as the poet themself grows and evolves through life. Am i out of line? or within many spots?

Coolidge really emphasizes rocks. This rocks. Within an arrangment of rocks is an arrangment of cosmic healing and shamanic powers. This is true because all rocks contain energies inherant to themselves and usually having healing or divinatory powers. Interestingly enough since they are just made of molecules and minerals yet hold these specific energies. Simply put: Rock, arranged of minerals, arranges rock, arranges specific energies as arranged by the arrangement. The grand arrangement. Aren't we all just molecules and atoms bumping into and cobusting with eachother? The flower of life (the image on the Granual Manuel that came out this year) hold within the 5 platonic solids which are the shapes of all life and creation. This shape is said to comprise all in the universe. This may be part of the arrangement. What i like about poetics though is that it does not follow the dogmatism of zen wherein this is enough. These are abstracts. Poetry too is abstract but these writers will bring us down to earth with all this heady material.

The macrocosm and the microcosm are the same here. What is witnessed in the atom or the molecules of the rock is witnessed in the galaxy. This is easy enough to see in the atom and solar system. We learn in science the electrons rotating around the nucleus -- the sun too is a nucleus and our planets, like electrons, rotate the sun. I think Coolidge was talking about this with all the arrangment stuff. Something he said about nature and how it all doesn't make that much sense but it does. Almost like we wouldn't know how to create nature but looking at how it is all arranged clicks for us, makes perfect sense on an energetic and visual/spactial level. Recognition is a word to describe this associate of arrangement. Recognition of nature is easy, its nature and its us.

Backing up a bit to the always moving/ changing/ evolving art piece: these were words of Golston. The molecules of the art work hold a certain energy on the paged that is charged with the artist's intention. Continuously changing throughout time, an energy portal is opened upon starting the work and the work's life goes on into the future. Integrative arrangment as opposed to lesser phenomenons like the separating nature of estrangement. We find good recognition in nature because it is real and perhaps less fulfillment in ephermeral dualities due to the separating nature of their estrangement. Poetry and art usually aim to progressively break down the walls of the separating nature.

The arrangement that is the macro and micro cosm simulates itself through us poets (and conversely we simulate this material as poet selves) through (i belief) an assimilation and recognition of our true nature. Perhaps even a cellular arrangment in some and not in others and thus able to produce works. What i have to say about Ms. Emily D. is the gentle force i have always felt emanating from here work. Looking at letters she wrote only adds to this sense of her gentile nature. She radiates a purity and a sharpness of thought as well. Clearly (ahead of her time) she writes, perceptionally, one step removed from the actual work. This space creates an objectivity to the use of language itself. Very sharp, Ms. Emily D. and soft hearted like a child's purity.

My last comment about Coolidge has to do with the arrangments created in the stories he writes. He tells of Lovelock in his Providence but also how he walked the streets in Providence where Lovelock lives as if the walking of these streets is a sort of matrix or energy "force field" as he described earlier in his experience of "being back in the womb". A neat man all in all really. Enough like a spirit to not be a scientist, enough like a scientist to be a mortal man. So very well all things.

Dreamtime by the Ganguji & Semblance by Bernstein

Charles Bernstein: Semblance

“The Interconnectedness and cohesion of all things” is to the Ganguji people of Aboriginal Australia, dreamtime. Dreamtime is not an unconscious, at dark, regenerative rest, dreamtime is our lives comprised by the totality of our experiences. Everything has a purpose. It is impossible to de-engage the cohesion and interconnectedness of all things.
Bernstein emphasizes word, like Hejinian, and words in combination to tonify and charge the accompanying language. The perceptional dimension arises – the word on page, not in referential context, but as special entity. A subtlety of perceptive feelers to connote poetry wherein the poet uses intentional spontaneous discernment – called nailing down a word. Through referential vectors arise Bernstein: “fills vats ago lodge spire”. Achieved here is not banal word/stimulus image/response but rather these vectors in spatial dimensionality’s possibility. The point: release “energy inherent in the referential dimension of language” to now re-create rather, the very conditions that prior to now were created through “meaning”: connotation/denotation of word in medium to now paint on a canvas of auditory receptivity in the absence of self and culture contained definitions. Words redefine themselves in an inherent indefinable “vector” of their own palpable reality. Words redefine without definition and are vectors in space time continuum of sound and patterning of sound together. Poetry functions in hyperspace; poetry creates poems in hyperspace. Hyperspace functions different than Earth here – Earth is more the limiting possibilities as sentences narrowing themselves in and of passages, through expository and narrative qualities, limiting themselves the same. Poetry follows less this pre-de-rangement patterning; poetry allows for an openness which to Hejinian is free-unhampered access. Hard to experience Hyperspace when stuck to the laws of Earth’s time continuum, ask anyone who recalls Astral Plane or pre-existence or has used psychoactive drugs or hallucinogens. What do these dimensions have to do with poetry? All is a manner to break down the walls we as a people have put up so long ago. Breaking down structures and thought forms. Poetry does not have to follow preconceived thought forms, it is only thinking that births the present into being. Our thoughts create our reality. Our thoughts create our poetry. We create our reality and so to think differently is to perceive and thus to be, reality, different. Re-patterning ourselves to be open to more than the pre formed structures as used in programmed language and pre-framed society.

The Rejection of Closure in poetry format...

Lyn Hejinian: The Rejection of Closure

Managing intake:
Manfestation stomach phenomenon since the worlds a'full of phenomenon -- nature of creation.
Hejinian's description of the writer's conflict :
dual desire: boundedness/coherency (in opposition to) free-unhampered access
dual desire nature inherent to creation/incarnation (and) manifestation/form in writing poetry ( ) since we see the soul and the desire to individuate
)-(creation/ incarnation (= =) manifestation/form)-(individuate or merge)-( incarnation allows for poetry and the mere thought of the possibility of
Goddess and God allow for the possibility for poetic matter of existence (and) manifestation of verbal existence. On’Course with the no form belief of Goddess and God, poetic eye in existence will radiate a reflective brilliance of light. When you close your eyes do you imagine Michael McCure and a light of one candle in the manifested creation of a personal universe deck to portray the senses within this candle lit room?
Open and closed texts:
Boundedness/cohesion (and) free un-hampered access.
“Form does not necessarily achieve closure, nor does raw materiality provide openness”.
boundedness/cohesion implies distinction between inside (and) outside
free-unhampered access hates to leave anything out
At the risk of this essay becoming closed text i will maximize my excitement to the music of the free-unhampered tramp. The form of poetry is open when for a while the characteristics of focus and direction tend to pull levers of anatomical thought without foreground. Foreground in the making. Perhaps and bag of hats to strive for cohesive surface to mount the circus camel. Spiral of thought. Many pencils. Many hats. All within a personal universe lit room.
Boundedness will lead to free-unhampered access: within umpth degree of focus. actualization, true to some possibilities, since ideally, through the experience of gatherings and evolution the happy actualized purpose – shamanic energy healer, yoga whisperer, international food co-op. Sounds like poetry, the verticalizaion meets horizontalizaion..
vertical: continuously becomming (and) horizontal: building on experiences, always learning, adding to in combinationary effect. Life should be continuously becoming. Dreamtime means the totality of experiences should contribute to the larger purpose,
poetry is path.
cohesion within continuous becoming.
A master at living out the desires of the soul will find exact cohesion in writing.
Laws of syntax are to writing as natural and karmic laws are to living (animate and inanimate life).
It's usually good to assimilate into society to some extent:
Q: "Can form make the primary chaos articulate without depriving it of its capacious
vitality, its generative power?"
A: We show the will of generative creative power in our vital capaciousity for life channelable through poetry.
Unconditional words.
"Man is a curious body whose center of gravity is not in himself [yet in language]"
Language= useful for navegating the now river and eternal flow of unhindered experience. Language= useful for the alchemical conduition of the moon flow of water in the formulation of word combinations applicable to mental function.
Rapids= poetry transmitted telepathically.
Rapids= mental application of experience transfused in alchemical union to the eternal flow of water as regulated by Earth's moon.
The spatial and temporal properties of language are continuous -- Where are the words in relation to the others? How does the word relate to the world around? A systematic form to allow individualized examination of the totality of existence.
-Isa 5.26.07

Lyn Hejinian The Rejection of Closure

The first thing that comes to mind is managing intake. The whole "manfestation stomach" phenomenon since the world is a'full of phenomenon -- such is the natureof creation. Jejinian's description of the writer's conflict: dual desire for boundedness and coherency and free- unhampered access is indeed parallel to the dual desire inherant to creation and thus incarnation into these bodies of ours. You see the soul wants to individuate (incarnation into form) and merge or return to source ( end cycle of re-incarnation). Incaranation allows for poetry y God (to me) allows for the basis of poetic material. Of course, however, there need not be a God either, you see for the poet exists and thus her/his dual desire nature here on Earth in poetic reality: simultaneous desire for boundedness y free un-hampered access. Boundedness implies distinction between inside y outside -- unhampered access hates to leave anything out. More conflict comes since"form does not necessarily achieve closure, nor does raw materiality provide openess". At the risk of this essay becoming closed text i will maximize my excitement - a concept to me parallel to the ideology of free-unhampered access. My poetry's form must be open for while there are some characteristics of focus and direction ( i suppose within a single reading as Hejinian says) i do tend to pull from all strings of myown limited universal ideologies -- i.e. one thought leading to the next and thus relying on spontaneous aspects of my experiences sparking one another into form -- opposite of closed (?), perhaps and still i strive for cohesion within spontaneously arising forms of though, just as i strive for cohesion in my life and all experiences (and to spiral out...) cohesion in this life, as far as my overall affect and all my lives to thus spiral in and become whole again. Boundedness will lead to free-unhampered access: there must be some focus, without focus thehippie goes to rainbow gatherings all life and does not actualize (generalization, though true to some possibilities) since ideally, through the experience of gatherings and evolution the hippie actualized into purpose -- energy healer, yoga teacher, owner of an international hostel or founder of a local food co-op. Sounds like poetry, the verticalizaion meets horizontalizaion.. so vertial: continuously becomming and horizontal: buildingon experiences, always learning, adding to in combinationary effect. Life should be continuously becomming though not randomly, all experiences should contribute to the larger purpose, then we are on our path instead of bumming around devoid of purpose - off the path. Poetry is path. Cohesion within continuous becomming. A master at living out the desires of the soul will find exact cohesion in writing. Just like laws of syntax there are karmic relations and natural laws inherant to all animant and inanimant life. It's usually good to assimilate intosociety to some extent: i.e. the hippie y her/his hostel biz -- Thus for Hejinian simple use of grammar for poetry is writing and writing exists! (helps to keep cohesion in the becomming of thought). Q: "Can form make the primary chaos articuate without depriving it of its capacious vitality, its generative power?" A: We show the will of generative creative power in our vital capaciousity for life channeled through our poetry. Unconditional words. "Man is a curious body whose center of gravity is not in himself [yet in language]" Language= useful for navegating the river that is the now, the eternal flow of unhindered experience. Language= useful for the alchemical conduicion of the moon flow of water to formulate word combinations applicable to mental function. Rapids= poetry transmitted telepathically. Rapids= mental application of experience transfused in alchemical union to eternal flow of water as is regulated by Earth's moon. The spatial and temporal properties of language are continuous -- Where are the words in relation to the others? How does the word relate to the world around? A systematic form to allow individualized examination of the totality of existence.

Varieties of Poetic Syntax

Donald Davie shares with Fenollosa this belief that poet and grammarian are on one side opposing logicians. While poetry has been demeaned at times as nonsyntactical or ungrammatical, Fenollosa makes the point that the poet is "an ideal grammarian who has broken for good the alliance with logic" (253). Grammar seems to develop itself through a cosmic sanction occuring while writing poetry; syntax as music obeys (in the transitive sentence) a law of nature, rendering its own 'form of thought'. Many have their own mode of writing and we talk about form in class sometimes. Some people write and descide the form afterwards (while typing), some people allow the poetry to dictate its own form as it spirals out of poet onto page; most are somewhere inbetween, allowing the poem to dictate its form and be dictated upon by the poet's conscious projection as to what the poem will carry (for us). Can a poem be projected upon? -- Syntax as music -- The poet utilizes grammar to his/her advantage to make music out of structure. Symbolist theories support the grammatical inquiries of poets since grammar will parallel forms of thought and forms of thought best [a verb] parallel forms of non-mental existence -- that is, the well of poetic substance so dive deep. For me the question has always been more the forms of non-mental existence, where and how, and always through the grammatical means, the poet, grammatically perfect in cosmic sanction. To truely appreciate others is to recognize cosmic sanction in a more experiential existence, a conscious interplay with grammar.

Poetic syntax as a skeleton on which to hang, like skin and meat, the poetric elements of imagery or rhythm. Poetic syntax the frame of the poem, neutral only within poems wherein the skeleton or syntax is neither well nor ill-proportioned. Most poems deal with neutral skeletal structures or syntax in poetry versus poetic syntax. Poetic syntax is merely an extension of the poem itself manifested in Pound's Cantos which exist as invertibrates, lacking syntax though not without cause. Poetic syntax does not contribute to critical machinery , rather serves as one of the several sources of poetic pleasure (255).

THE FIVE VARIETIES OF POETIC SYNTAX:

SUBJECTIVE - Key words are "form of thought". Poetic thought. Experience. The subjective piece wants to follow the poet's experience. Through syntax this happens. In "This Lime-tree Bower my Prison" the function of the work happens in two ways. Coleridge wants to express what has been lost, however in starting a sentence with "I have lost" and continuing onward with seemingly no end, the poem shows itself amoung others that the imagination will not be lost. Connections in grammatical sense will mimic a logical link in the thinking/feeling experience of reading a poem. As a poet, the question, ?How do my connection between words affect my readers? Images will come out of images where before the logician would want all images to arise from verbs. "The true voice of feeling" found in syntax. The articulations of subjective syntax will take over in the absense of projected verse.

DRAMATIC - The distinguishing point between dramatic syntax and the prior ( objective syntax) is the origin of the form of thought, as in dramatic syntax coming from another mind other than the poet's. Dramatic syntax happens in plays though is rare due to the aptitude of the dramatic nature to be applied to the ear whereas syntax, the page. Repititions of words function as lashings of a whip "tickly Commodity, / Commodity, the bias of the world, / The world, who of itself is peised well... " (266).

OBJECTIVE - How syntax follows a form of action through the world at large, not limited to any one mind. Concerning itself more with concepts known to man which syntax can work with through changing word order like changing order of time, and rightfully though in the time of a sentence, which to Fenollosa, carries a plot. Syntax with a mimetic function to cling closely to the experience behind it. Much more wholistic than syntax like mathematics, that is more like a skeleton with no meat.

SYNTAX LIKE MUSIC- Wherein a feeling to each form in not specified. As in music, in syntax like music, a common feeling does not associate itself but rather is the presentation of the human feelings as they are born without attachment to one specific feeling. A much more spontaneously becomming child who does not grasp onto sadness, yet changes indefinately as the experience. Thus the thought is followed through the poet's mind, however not defined in syntaxical form. One part of the struggle portrayed, though towards no end. Merely to supply one part of a larger whole, not able to pin down the totality of the experience, for there is not such totality. Lines carry the music quality that tells the reader what to feel. Words a musical tones. Refered to as the figure of grammar. Implying substitution of words to create same meaning/feeling.

SYNTAX LIKE MATHEMATICS- The poem is the poem's subject and does not address the reader. The poem functions to please us only through pleasing itself. Meaningless poems since the structure of the poem is meant to be the interesting point of the poem, not anything the poet has to share besides the mechanical nature of the poem. Differs from other kinds of syntax in giving poetic pleasure. A crowded category.

A Statement of Poetics

“Poetry contributes intense records to history”. Through tuning into the human tradition, "a voice which has developed among the sounds of natural things"[,] and thus escap[ing] the confines of a time and place" poetry proves "international", and more commonly associated, transcendent (20). Poetry, a cultural phenomenon, grows from "precise information on existence" and "information of its own existence, that is, the movement (and tone) of the words. Rhythm, pulse keeping time with existence, is the distinction of this technique (20). Poetry, an independent, cohesed with "precise information on existence" travels a space time continuum as light (20). When the light transfers to language, as in Zukofsky's "An Objective", there is an opening for the eased examination and directed mediculyzing of language within its own projected limits. Not to say the intellectual framework of language itself poetry, nor poetry, a thing in combination with historical epochs, separate from the projected limits within epistemological reality. Although “it is assumed that epistemological problems do not affect existence” (13). Objectification, (through perception), the lens, brings "the rays of an object to a focus; that which is aimed at", held within desire, "for what is objectively perfect, inextricable the direction of historic and contemporary particulars" (12). A contemporary particular, "the omission of names [,] is prompted by the historical method of the Chinese sage who wrote 'Then for nine reigns there was no literary production'''(12). Omission suggests the absences of "the consciousness of the 'objectively perfect''' as well as the absence of "an interest in clear or vital 'particulars'''(12). Poets rise to inspire through a muse-ic presentation, “writing [as] a reassertion of faith that the combined letters - the word - are absolute symbols for objects, states, acts, [and] interrelations" (14). Poetry arises from shapes, as “precursors of completed sound or structure” (12). As for the origin of writing inspired particulars "which is the detail not mirage, of seeing or thinking with the things as they exist", poetry is information coding its own existence, fused with "precise information on existence" (20). The manifestation of the focus of an object through perception first travels a space time continuum as light to birth poetry which originates in objective precision and discrimination since perception relative to particulars can produce something authentic within existence and historical significance.

Cited from Zukofsky’s “An Objective” and “A Statement for Poetry” found in Prepositions + printed by Wesleyan University Press.

Chinese symbology as a gateway to zen and well being, consciousness, like reality, flowing never ceasing

Chinese Medicine, as a healer, is an interest of mine. Elements of healing from Oriental point of view versus western empiricalism in comparison with eastern symbols denoting natural process versus phonetic symbols denoting the same. Again, the two cultures diametrically opposed. What value do you see in letters versus a value you see in symbols?

Perhaps the symbols hold nothing. From the vantage point of our americaness we are so alienated from the symbols we attach no meaning. Looking deeper, we begin, using this lovely right brain of ours, to intuit just why man is this symbol like a 'wishbone' and why "sees" is this view box with legs and "horse" is sort of like a view box with an extension and four plots below. Though, possible that withero we are using left brain empiricalism or these symbols are to be taken lightly and osmosed through our symbols for us to understand. The drilling of symbols to denote natural process in our attempt to assimulate to the chinese language grants little success when compared with the ease of integration when simply letting the symbols freely pass over our consciousness, attaching little or no meaning, simply appreciation and recognition. Healing from a Chinese point of view is very similiar. Less memorization and more real life survival intuitive proof of 'knowing' the elements in the chinese symbology in and of our cells.

Gesture and symbols as means for communication which in are "based upon a vivid shorthand picture of the operations of nature". Again returning to consciousness and the dichotomy between eastern and western structures of this consciousness. We use words, Chinese use symbols, a shorthand dipiction of what actually happened. If we can back up to the moment in time of creation where words/symbols came into being to express 'natural process' we see an immediate division between eastern and western (american) minds as to the expression of these 'natural processes'. Western (american) mind gave meaning to what where before arbitary letters and sounds -- phonetics. Eastern developed rather a pictural representation of the natural processes, a shorthand account of action. Western (american) developing letters which loose arbitariness and Eastern interpretation allows for a more intuitive and right brain based idealogy as to what constitutes language. More room for interpretation within symbols as to words, letters, sounds, phonetics. Is this true?

"The group holds more of a continuous moving picture" -- in reference to the symbols "man", "sees" and "horse". The Chinese point of view is that that all is in continuous motion in life. Western (american) thought tends to hold more of a conservatisim that all is fixed, less open to change.

"Watching things work out for their own fate" -- in reference to chinese symbology as opposed to american letters. For me, Chinese indicates, as usual, a wholistic approach. Meaning thus that within Chinese symbology, as noted: "the combin{ation} {of} both elements... the vividness of painting and ... the mobility of sounds..." (363). Wherein before, as mere readers of Western( american) thought we "juggle mental counters" which to me is indication enough to intuit western thought as more trying to "control" the interfaces of a reality (poetic reality, horse moving through midnight reality, any reality really) rather than ease up breath and let the reality pass through our consciousness. Perhaps an ambition from the birth of our country to stand up for ourselves and not take no Britain pain in the arse control. The foundation of our country is that of pure intent, though purity within the naivete of immaturity, more our people, much like today, rushed in too fast.. the Indians hold the "reality" of our lands and we, unable to see such truth and simplicity in god, rushed in to change the existing structure with our WORDS.