Entry 637 — Close to Totally Non-Functional

January 27th, 2012

I did an errand on my bike early this morning–four or five miles.  I felt okay.  But, ye gods, how null my mind has been!  A little while ago, I looked at a text I need to work on, but lacked the energy to read it.  I should probably take some of my energy pills but I don’t want to. I fear addiction.  But how could that be worse than the way I am, unaddicted?

But I have been able to play around with the textual image I posted recently, and make the following:

I felt there were too many grey letter-fragments, so made this revision:

 

Kinda fun, doing these, and no mental strain.

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Entry 636 — A Political Entry

January 26th, 2012

I prefer not to mention politics here because I’m one-half an outrageously extreme right-winger, and one half an outrageously extreme left-winger.  In other words, I believe in maximal freedom, both the economic freedom that left-wingers hate and the moral freedom that right-wingers hate, so highly likely to arouse dislike in people I want to be friends with.  However, like everyone who reads the papers or watches news programs on television, I’m getting saturated with the views of the Republicans fighting it out for the presidential nomination, and commentators’ analysis thereof, and finally can’t keep from responding to one idiocy that particularly annoys me, the right-wing belief that we need to continue increasing our population because our gross domestic product will shrink if we don’t.  My thoughts, not yet well-organized or complete:

(1) I don’t care about the gross domestic product; I care about the gross cultural product.  Here’s an example showing what I mean by this: Smith writes a bad novel that sells ten million copies in 2011, which adds $20,000,000 to the gdp, but only 20 cultural units to the gcp, because it only gives a tiny measure of short-term pleasure to its readers while taking shelf space in bookstores away from much better books, which has a negative effect on the gcp; meanwhile, Jones composes 10 mathemaku that I post on the Internet, that only 100 people find enjoyable, but 20 of them get a relatively large measure of long-term pleasure from, which includes the pleasure they get from composing poems inspired by Jones’s, so the ten mathemaku add 1000 cultural units to 2011′s gcp.  Note, a cultural unit is worth $1,000,000 to the intelligent few, but nothing to the unintelligent many–until many years later when the work the latter enjoy is finally exploiting the innovations in works like mathemaku.

(2) Increased population will probably increase the number of valuable culturateurs (the Joneses), but–as I will show–will probably severely reduce their effectiveness.

(3) A sane goal for any country would be to reduce the number of workers needed to provide the country’s population with a happy, meaningful life.  Our country is unconsciously doing this via automation, and the fewer workers we have available, the more it will do this, because it has to. 

(4) Negative population growth will give us more wilderness, which is an unacknowledged need of human beings, particularly superior human beings.  Places to get away from others, which are as necessary as places to get together with others.  Places to get away from human products, too.  Places to enlargingly be with other species, too.

(5) Increased wilderness and fewer people will make pollution more difficult–for example, there will be fewer cars emitting poison gases into the sky.

(6) Increased wilderness will be a boon for wildlife; it will mean less highways for raccoons to get killed on, for one thing.  It will make it less likely that dangerous creatures will invade areas inhabited by human beings, too.

(7) Decreased populations will make wars for land less likely.

(8) Decreased populations will decrease the over-stimulation I consider a major problem for Westerners at this time.  Most of us have many too many others to relate to, and many too many ideas to try to understand.  Why, I wonder, must we continue to advance culturally a hundred times faster than we did a thousand years ago?

(9) I may be about the only one in the world for whom this is a problem, but I do not like thinking of myself as one human being in a population of seven billion.  How can I possibly think whether I live or die is meaningful when there are 6,999,999,999 others who will carry on after I die?  Even if I’m among the top hundred innovators of my time, it’s pretty clear that someone else would have done what I’ve done had I not existed, if maybe a year or two later than I.

(10) I wonder if cultural progress has reached or will soon reach a time of too many cooks spoiling the broth.

 

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Entry 635 — The Improvement

January 25th, 2012

What I hope is an improvement to what I’ve been working on (a subdividend product) is very simple.  I think it makes more sense than the previous version, for it shows my text going into somewhere else whereas previously the text went into somewhere else and came back.  It also makes for a slightly more challenging puzzle for the engagent, and my best engagents will like that. 

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Entry 634 — Faereality as a Major Theme?

January 24th, 2012

After making the textual design with the sailing ship in it, I got an idea for a mathemaku featuring the ship’s entrance into the world it’s shown in as a partial metaphor for faereality.  I worked out a full sketch of the poem but haven’t converted that to an actual poem yet.  Now I’m fumbling with another faereality long division in which the following is a partial metaphor for faereality:

When I got this second idea, I immediately went megalomaniac, as I so often do, with thoughts of a Major Triumph.  In this case it would be a sequence of faereality long divisions in which faereality would symbolize the wonders of the worlds imaginative children live in.  My third frame of the sequence needs just a remainder; I should say, my sketch of my third frame just needs that.  I have no other ideas for the sequence, though.  I hope I get some–a dream that if I got at least ten, the result would be Very Accessible–and appealing to the many with my nostalgia for childhood.

Note: if you’re stumped by the extract from my poem-in-progress above, decode the following to understand it: ju jt ”cpzippe”–dpejoh jut xbz joup gbfsfbmjuz.  Hmmm, I just thought of a better spelling.  I’ll save that for tomorrow when, again, I’ll no doubt be having trouble thinking of something to put here.

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Entry 633 — Kinds of Poetry, Again

January 23rd, 2012

 

At Spidertangle there’s been a discussion of how visual poetry sells.  Poorly, needless to say.  Along the way, John M. Bennett said, “Yes, the discussions about vispo can sometimes be interesting – a game, as you say – - – tho i think what they tend to miss is that the poetry we’re trying to create is much more than simply visuality.  for me at least, the poem i try to make functions visually, sonorously, textually, conceptually, formally, metaphysically, metaphorically, ambiguously, performatively, etc etc etc and all equally importantly and at the same time.  so from that perspective a discussion about vispo or soundpo or whatever misses most of the picture.  or, it’s a game, something sui generis, of interest as a kind of thinking in its own category.”

I added: “Further thoughts: that there are two kinds of poetry: people poetry and a different kind I haven’t thought of a good name for.  A people poem either states an opinion about human life which those who like the poem like it because they agree with the opinion; or it expresses a human feeling that those who like it empathize with.  The other kind may also express an opinion and/or feeling (actually, it can’t avoid doing this to some degree), but has what I think of as larger interests of the kind John listed.  The most important of these for me are aesthetic—what the elements of a given poem are doing rather than what they are saying.  I think there is only a very small audience for such poetry, similar to the audience for avant garde music or mathematics.” 

Another thing that cuts down sales of visual poetry is the Internet—because it’s so available there, and because a lot of visual poetry can’t be inexpensively printed but can be cheaply distributed free on the Internet.”
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Entry 632 — A Step Beyond Designage

January 22nd, 2012

I fooled around with a portion detached from the design I posted here yesterday for a little while, overlaying it with some oil paint brush strokes and a sailing vessel.  Viola: the thing now had enough connection to reality to take on meaning–in a manner I thought very similar to what Klee’s best paintings do.   It remains a textual design, though.

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Entry 631 — Continuing Out-of-Itness

January 21st, 2012

Many of the times I’ve been as out of it as I am now, I gone to Paint Shop and thrown together some bit of non-representational visimagery. So I tried that this after noon. After I had my design, I layered an old textual visimage over it to get:

I find it interesting but tend to think anyone with access to Paint Shop or software like it could have made it.   

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Entry 630 — Nowhere, Again

January 20th, 2012

I feel okay.  It’s just that I can’t think of anything to put here except the announcement that I have nothing to put here, which I put here so I can say, for some reason, that I’ve done a daily blog for at least the past, what, three months?  I’m so out of it I’m not upset about being so out of it.

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Entry 629 — A Poor Poem Poem and a Mathemaku

January 19th, 2012

          Poem’s Latest Visit to Nowhere

          Poem spent the day interviewing
          a spoke from a bicycle wheel that was all
          that was left of a Schwinn he’d had ten
          years ago.  He was interested
          in the spoke’s relationship
          to quantum mechanics
          considered chromatically.
          This caused a flap.

          His present bicycle went nowhere.                             
          Criticism intervened, trying
          to rescue the incredibly dead patch Poem
          had gotten himself into by
          using it to illustrate his thesis
          that little boy blue’s absence
          was impossible for any poem
          to overcome.

Yes, I am as out of it as I’ve ever been. I was hoping my non sequiturs would get close enough to sense for me to do something with them. They never did. But behold: I still eventually steered my text into an at least slightly intriguingly unsettling epiphany. Not that it makes up for the badness of the rest of the poem. But wait.  So this entry won’t be 100% worthless, here’s my “Cursive Mathemaku No. 2,” again. While going through my 2011 entries I came across this and changed my mind about it: it suddenly seemed to me the best version of the poem, not the third-best. So I’m using this entry to make public its officially being granted the title of “Cursive Mathemaku No. 2.”  Weird how much I prefer it to the one I once greatly preferred to it.

 

I really like the black lines, I don’t know why.  They’re very simple.  I think they give the thing thrust, they increase its seeming to be going somewhere.  Aside from that, spirals are always a plus.

Note: the yellow cursive reads, “any preposition whatever.”

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Entry 628 — New Vocational Triumphs

January 18th, 2012

Just when I thought my visual poetry career was going nowhere, I had a pleasant surprise at an Arts & Humanities gathering last night.  It was an annual affair where local visimagists get together with people representing public places.  The latter look over the works brought to the event, three pieces per artist, and offer exhibition space to those whose work they like.  A bank lobby, for instance.  I went to one of these long ago, but my work wasn’t chosen, and while I’m (probably insanely)  persistant at continuing to make art, I have just about no stick-to-it-ive-ness so far as getting it to where people can see it and maybe like it.  Well, with the encouragement of Olivia and Judy, of the Arts & Humanities Council, and thinking maybe now that I had my current exhibition, someone might think me worthy of another elsewhere, I brought the following three pieces to the main library, where the affair was:

 

 

 

 

I was going for accessibility with the top two.  I added the bottom one to show a little of what I was doing with long division and color.  In any case, I’m now down for three more exhibitions, two more this year and one in 2013. 

I got to talk with fellow artists, too.  One of them did abstract-expressionist stuff with the word, “love,” embedded in them–another local visual poet!  I came across another artist who uses some kind of transparent, screenlike fabric in her work: she paints an image on it and hangs it in front of regular fabric with a background painted on it.  I thought it worked really well, and have vague ideas on what I might do with it.  So, quite a good hour or so!

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