Archive for the ‘Autobiographica’ Category

Entry 682 — Through the Whimdow.

Monday, March 12th, 2012

Small thought concerning the repetition of ”mendow” in my “Sequence for Michael Basinski.”  I think I got the word from Mike.  My small thought was simply that its repetition should make an engagent of the poem scrupulous enough not to just skim grow loopy enough to misread it eventually as “meadow,” and/or misread “owmen” as “omen” and/or “women”–and flow from “women” to “womendow-ment.”  Maybe see the “window,” too, and “mend.”  And see otherway through the whimdow.  Poetic textual distortion.

Words compensate for the inadequacy of the senses.  Except, of course, for nullinguists.

I’ve taken no pills so far today.  (It’s around one in the afternoon.)  I wrote the first two paragraphs of this entry yesterday.  It’s no doubt a fault that, as I notice far from the first time, how I (try to) make sure the most trivial things I say are clear–as in the preceding sentence where I felt compelled to tell my readers that the “first two paragraph” I was speaking of were “of this entry.”  Thinking of my flaws, I’m reminded that my friend Geof Huth wrote of a session he had with a therapist.  I was surprised because every once in a while when I think I’m blithering into some form of mental dysfunction, I think, “Well, I’m no crazier than Geof, and he’s certainly all there.”  If not, it’s only because he’s spread himself too thin; of course, that’s my diagnosis for myself, so I tend to see its applicability everywhere. 

I have a bias against therapists, but on reflection, I do see that one might be helpful the same way a tennis coach is (or an editor)–by seeing what you’re doing without realizing it that may be wrong, and maybe showing you a way to practice doing a different way that may be more effective.  Simple empathy can be helpful, too.  All the therapeutic mumbo-jumbo seems to me almost entirely idiotic, though.  It seems to me serious problems can only be remedied by surgery or drugs.

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Entry 681 — Why I Like Long Division Poetry

Sunday, March 11th, 2012

I think six people have now seen and commented on my Sequences.  17 in all have seen it, if the counter involved is only counting each person’s first visit.  The only slightly negative comment about it came from the one of the very few who made any meaningful comment on it, Endwar, who said he wasn’t all that taken with long division.  Which, I (Moon in Aries!) instantly responded to with a phooey directed at him followed by a description of (some of) my feelings about long division poems: “I don’t think of any of my long divisions as division, but one multiplication and one addition.  I love the idea of objects or images multiplying each other.  Also the complication of the metaphor resulting: the metaphor having three parts: the multiplier, the multiplicand and the process of multiplication.  My long division poems also bring me back to how wonderful I thought the process of long division was when I was first exposed to it.”

I also commented that my long divisions are much more poetic than conceptual, and Endwar leans more to the poeticoceptual than to the conceptipoetic.  As I’m sure I’ve mused before, I feel many people in science (like Endwar although this may not apply to him), are too conceptual to be able to break out of their analytical minds enough to flow into the weirdwhere my long divisions bobble into.

Ha, they may need the mix of APCs and opiated pain pills I sometimes take.  I say that because I took such a mix just twenty minutes ago after being dead-headedly uncreative for a week or more–and look how “creative” my weiords bobbled at the end of the previous sentence.  The lilt up into poeticonceptuality.  Actually, with me, it is an ascent into an energy level sufficient to express whatever poeticonceptuality I have–but others not naturally in the zone may well be helped by such a mix into it.  So, require visitors to my exhibts and readers of my books to take a dose prior to engaging my work?

Meanwhile, the mix continues working on me.  It’s got me into my semi-megalomaniacal zone. “Semi,” because I’m aware that I’m in it, or at least enough aware of my readers to pretend to think I’m in it when IT IS NOT ANY KIND OF MANIA FOR ME TO RECOGNIZE THAT I AM TO JEHOVAH WHAT HE IS TO KOOL-AID JONES.  I do get hilarious when in the zone, don’t I!  Anyway, as I was about to say, I once again wonder why hardly anyone bothers with writings of mine like this one.  So many others have large audiences for similar reflections whose plod is way lower than the deft snipper of mine.  Okay, I’m not quite a Thoreau or Emerson (the first two I can think of whom I hope have contributed to what I try for with my poetic prose–Robert Frost another), but surely, I keep believing (even when not in my possibly megalomaniacal zone, the difference being that I keep my belief to myself then), I’m close enough to them often enough to attract the attention of people who like that kind of writing more than I do.

Two possibilities: I’m more wildly out-of-phase with the zeitgeist than I feel I am–or I’m too boring repeating a long-dead zeitgeist.  I can’t tell, which is why I so much wish I could get feedback from my few readers.  But they are all as creatively other-occupied as I, who rarely am able to critique them!  What I need are academics, and academics are academics because they are innately behind and want to stay there–who can’t not stay there.

I just made up a new category for entries like this one: “Autobiosophy.”  Words about my, uh, wisdom, rather than words about me.  I feel I write a lot more about my thoughts than I do about me, a good reason for my claim that I ain’t no narcissiphist.  Another argument of mine against the latter tag, which has been applied to me, is that I don’t worship myself, I am aware of and point out flaws of mine all the time.  I am balancedly ego-postive and ego-negative.  Or so it seems to me. 

I could go on forever but will try to do it taking care of the reviewing I’m behind on.  Wish me luck.  You needn’t wish me contentedness: the pills have me ridiculously content with the whole universe.

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Entry 672 — Me and Stress

Friday, March 2nd, 2012

I consider myself highly sensitive to stress, particularly the stress of having to pass some sort of test (most often one I create myself).  I have no idea whether I’m more  sensitive than others.  I tend to believe my sensitivity is a good thing–for getting me into a fight/flight phase quickly and energetically.  Two problems with it: (1) getting me there when it shouldn’t–as now, when it gets me there before a match in a B-level senior league tennis doubles match; or before I have to hang works in a minor local exhibition, as happened the past three days; and (2) it leaves me drained.  All of which is my explanation for how I feel right now, and why this will be another of my D-minus blog entries, and I probably won’t get anything done today.  (I think my exhaustion is a good thing, too–it thunks me null before I have a chance to have a nervous breakdown.  Don’t think I’ve ever had one–unless the way I’ve been the past ten years is one.)

Note from my workshop: I see a possible improvement I can make to my “The Best Investigations, No. 2.”  If I can manage to sleep an hour or so, maybe I’ll try it out.

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Entry 669 — My Works’ Prices

Tuesday, February 28th, 2012

As I was hanging some of the works in my upcoming exhibition, the very nice lady in charge of the public space it was in (the local school board building) wanted to know why I put so high a price on my works–$100 and up.  Other artists in the program were only asking $30 or so.  I sputtered a bit, because I didn’t want to come off arrogant by telling the truth, which is that my works are brilliant and like none other in the world.  I forgot to say, “Why not, I’ve actually sold a couple for $600 apiece”–which is true.  I did say that I wanted to establish a reasonably high bottom price for the kind of work I did, and whined that some of my pieces had taken years, so deserved more than $30 for them.  I didn’t say I refused to come across as a hobbyist.  My actual best response, which I didn’t remember till later, is that why shouldn’t I get what a person in a relatively low-paying job gets for a day’s work for one of my pieces?

Nonetheless, I’ve decided to post a notice indicating that 11-inch by 8.5-inch copies on cover stock, unframed, are available for $20.

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Entry 663 — Progress in the Arts, Part Three

Wednesday, February 22nd, 2012

 

I’ve been a very busy boy today, mainly because of bad luck.  I took two visual poems of mine I’ll be using in my next show to Staples to be printed 14 inches by 11 inches, and my file was too big for the print shop.  At Office Depot, I was able to get them to convert my tif file to jpg, so they were able to print my pieces but they printed one landscape instead of portrait, and I didn’t like the other–it seemed too small on the page.  That turned out to be my fault.  So, back home where I corrected the one that needed correcting and took them back to Staples.  It took a half hour for my technician to get them done but they looked good.  They are no both nicely framed in frames I bought today, as well.  I also stopped at my exhibition.  Olivia said a lot of people had been in for a look.  Only one couple bothered with my notebook of explanations, though–Jerry and his wife, Ann.  One of the ladies with the Chamber of Commerce cheered me up.  She told me she thought they were really cool.  Like a lot of people, she was awed by the fact that they were like nothing else she’d ever seen.  

Hey, my spell-checker tells me I just typed a whole paragraph with no mistakes.  That’s unusual. 

I guess I could stop here, but I did have something minor to say about progress in the arts, which I contend does take place.  However, works like Basho’s old pond haiku demonstrate that it is possible to achieve something in some simple art form that cannot be surpassed.  Aram Saroyan’s “lighght” is another instance.  No pwoermd better than it is possible.  What happens, it seems to me, is that forms are invented and exploited until someone achieves as much as anyone can with it.  The mediocrities keep going but other forms are invented by the best in the field, and the art itself progresses, by expanding.  Eventually some new form allows possibilities beyond what any previous form did, so the art progresses in that way, too.  Toward greater complexity, or magnitude.

Progress has to be defined as the achievement of organized matter of ever-greater complexity or the term is meaningless.  Yes, the ant is equal to the human being in that it is successful, perhaps maximally, as what it is just as the human being is.  But the human being us a success in many more ways.

 

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Entry 662 — An Astrology Chart

Tuesday, February 21st, 2012

 

For a while, when I was in my thirties, I was interested in astrology, although I never  believed in it.  I learned how to make charts, and even interpret them astrologically, although not very well.  Fascinating subject.  I soon was making charts for friends.  Being a creative sort, I couldn’t give them anything normal, so soon was making charts like this one:

This one was for my niece, Laura, when she was a little girl.  I think it one of my last ones, and probably my best.  Here’s a detail from it (which I can’t seem to reproduce with much sharpness):

 

I thought I might start a business selling unique charts like the above, but for some reason never got around to doing it.  I think I was too involved with my attempt to become a produced playwright, and then in my poetry career.  After leaving California for Florida in 1983 I think I only made one chart, and that was a simple one nothing like the one above.  I pretty much gave up cartooning, as well.  I’m not sure why.  But if anyone wants a unique, accurate astrological chart signed by me, and is willing to pay a grand for it, let me know!

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Entry 648 — Lost Essay

Tuesday, February 7th, 2012

Several years ago I wrote what I thought was a pretty good essay on creativity.  Yesterday, someone at New-Poetry posted a link to a really stupid article on the same subject, one of those “just try hard enough and you can be creative, too” gushes for the feebs that make a lot of money for con-artists.  Remembering my essay, I thought I’d post a link to it in a comment on the stupid article.  Alas, I couldn’t find it; nor could I find hard copies in any of my files (my drawer of writings on my psychology didn’t even have a folder for “creativity!”), or on a file on my computer.  I used terms from it just three years ago, so it has to be out there.  A shame.  I’d been in one of my rare semi-up moods when all this occurred.  The loss took care of that.  Made me wonder, as I more and more frequently do, why I should bother writing anything, considering how certain I am that it will disappear.

Meanwhile, I’m having problems with my conception of the urwareness, or soul.  Why, as I’ve wondered before, is it aware of the brain’s operations instead of, say, the liver’s?  Why, too, is it aware of a given brain’s operations instead of a whole family’s, or the world’s or universe’s?  My only answer so far is that it is aware only of the state of the matter it is in contact with.  Their state reflects the state of the matter surrounding them, and the state of the matter surrounding the surrounding matter, etc.  The brain would dominate the data-package resulting because of its complexity and variability while matter beyond the skin would have little effect due to its simplicity and sameness–i.e., mostly a bunch of gas molecules.  All that is so far as my outer reality theory is concerned.  I’ve already stated my inner reality theory which is simply that one’s urwareness is sensitive to the nature and state of the other urwarenesses it is in contact with, and which make up the whole of the universe except it–and whatever nothingness the universe is in.  It experiences these other urwarenesses as everyday human experience–e.g., contact with urwarenesses x, y and z at surface locations a, b and c translates as me typing this; If z moves to location d, I experience taking a break from my typing.  Etc.  To put it as simply as possible.

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Entry 638 — Not Yet Completely Non-Functional

Saturday, January 28th, 2012

How am I not completely non-functional today?  Well, I’m posting this entry, aren’t I!  Not only that, but I’ve emptied two tray-shallow boxes of literary effects a little while ago–by throwing out some of the things in them, and filing the others.  I spoke of trying to get mine house in order a week or two ago, and at that time got a good day’s work in toward accomplishing that, but have failed until today to return to the job.  I returned to it because I felt I had to do something and it seemed the easiest thing to do.  It’s a worth enterprise, too: I truly believe half my problems with blahness is due to the way I feel hemmed in everywhere in my house by obligations never taken care of.  My plan now is to get everything either thrown away or filed–i.e., out of sight–except for the very few things I believe I have enough time left to do something meaningful with, like my mathemaku, which I will then be able to focus on.

Okay, now a news item:

Today marks the start of an exciting project at All Things Considered. Each month we’ll be bringing in a poet to spend time in the newsroom — and at the end, to compose a poem reflecting on the day’s news.

All Things Considered

This announcement was posted today at New-Poetry.  Every time I think things couldn’t be worse for serious poets in American, I immediately learn I’m wrong.

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Entry 630 — Nowhere, Again

Friday, 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 628 — New Vocational Triumphs

Wednesday, 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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