Kevin Kelly « POETICKS

Archive for the ‘Kevin Kelly’ Category

Entry 995 — A Gem by Kevin Kelly

Saturday, January 26th, 2013

The following is a pwoermd Kevin Kelly posted to Spidertangle the other day:

hearthththrob

I like the way it makes me, at any rate, close to simultaneously strongly, sympathetically identify with the one whose heart throb is involved, and laugh at the poor jerk.  The lisp of the heartbeats is any excellent touch, too.  Not to mention the stuttering attempt to say, “the,” but not be able to.  Never has “heart throb” been so fully writ.

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Entry 120 — Responding to Narratives of Misery « POETICKS

Entry 120 — Responding to Narratives of Misery

Topic: why some people like narratives about miserable people.   A variation on why people like tragedy–as, on the surface, they should not, if my claim that the object of art is to give pleasure is true.

1. The standard answer: one experiencing the narrative experiences the beauty of the ugly material’s aesthetic expression.  The artist provides a taming order to horror, and pleasurable details, for instance, as with Macbeth’s famous “sound and fury.”

2. A simple psychological answer: it results in an “Ah, I’m not alone!” for someone empathetic who is exposed to it.

3. Another obvious one: it produces in the person experiencing it the kind of happiness one gets from looking through a window of a snug, secure house at a blizzard.

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Dylan Thomas « POETICKS

Archive for the ‘Dylan Thomas’ Category

Entry 1314 — Just-Spring

Sunday, December 29th, 2013

It crossed my mind earlier today that a flair for the use of fresh language might be the most important attribute of a superior poet.  Certainly E. E. Cummings had it, which is why he rates so high with me.  In particular, I think the invention of new words or phrases, or the use of a word in a way it was  never before used, like Cummings’s melding of “just” and “spring” in his famous poem about the balloonman, is about the most important thing a superior poet can do.  Hopkins and Dylan Thomas are two others I quickly think of who did this.  If I were fading out, I’d try to find examples, and mention more poets of fresh language.  I might even come up with a Grummaniacal name for them.

For now, I just say that one way of recognizing mediocrity in a poet is his total conventionality of word-choice and use.  You can recognize the subj-mediocrity by his used of dead poeticisms.

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Entry 584 — An & & My Full Triptych « POETICKS

Entry 584 — An & & My Full Triptych

It seems that almost every time I seem to be getting productive, something knocks me down.  This time it’s only a lost entry–this one, that I was trying to correct some detail of and lost in the process–without realizing it, so was not able to try to find the lost material by backing up until it was too late.  So now I have to spend an hour or so, restoring what I can recall of what was here two days ago. 

 One item was this by Moribund Face:
 
 

And all three of my frames of “Triptych for Tom Phillips”:

About the ampersand, I commented something about how it expressed the essence of “andness.”  I loved the way its bird regurgitated what looked like all of itself, while looking to continue “anding” forever.  I said little about my full triptych except that if you click on them, you’ll see a larger image of them which may be helpful although still very small–and in black&white.  The original frames are each eleven by seventeen.  Oh, one thing I did point out was that the frames are about, “departure,” “journey” and “arrival,” and are intended to be about them in the largest sense, but particularly about them with regard to arriving–for either an engagent of it or its author.

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Sunday, 4 October 2011.  Sunday is hazy to me now, three days in the past as it is.  I played tennis early in the morning–badly.  I didn’t return to my Shakespeare book, but evidentally got a blog entry posted, and probably wrote an exhibition hand-out or two.

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Henry James « POETICKS

Archive for the ‘Henry James’ Category

Entry 833 — Plot Versus Character

Friday, August 17th, 2012

Yesterday I finished reading Tom Clancy’s The Hunt for Red October.  It’s a mere “genre” novel, but I doubt any of the “art” novels of our time are better.  I think critics have too long been under the influence of Henry James, whose forte was characterization, not plot, as Clancy’s is.  I much prefer The Hunt for Red October to the one James novel I know I read, The Ambassadors–a penetrating psychological study of an absolute nincompoop as far as I’m concerned.  The inability to be explicit does not seem the brilliant virtue to me it does to Jamesians.

I think taste in these matters boils down to which of a person’s awarenesses is stronger, his sagaceptual awareness or his anthroceptual awareness.  I’ve discussed all this before, but haven’t anything else to post today, so here it is again.  (I also want to make public my notion of sagaceptuality as much as possible so maybe I’ll get some credit for it when some certified theoretical psychologist discovers it.)  It’s the awareness which tends to organize thinking in goal directed modes–i.e., to put a person on a quest.  It could be a child hunting for pirate treasure on a beach, a girl pursuing a boy, me working up a decent definition of . . . “sagaceptuality.”  It could also be a vicarious quest, as was the one I went on with the hero of The Hunt for Red October.  With several of the heroes of that book, actually.

What happens is that we all have an instinctive recognition of certain goals–for instance, the capture of a mate.  We usually have some instinctive goal pursuit drive that the object we recognize as a proper goal makes available to us.  What it does, basically, is lock us onto the object it is our goal to capture (or escape from) and energize us when we are effectively closing in on it (or escaping it), and de-energize us to take us out of single-minded ineffective pursuit and expose us to other possible better kinds, until one of them is judged to improve out pursuit.  In other words, just a homing device, with many different possible targets, like a possible mate, or food, or beauty, or fame.  Nothing much to it.

Anthroceptuality is simply interest in oneself and others.  When it is dominant, other instincts rule us, such as the need for social approval.  Needless to say, both anthroceptuality and sagaceptuality will usually be in some kind of partnership–with other awarenesses.  But some, as I’ve said, will be stronger in sagaceptuality than anthroceptuality, and some the reverse.  The former will prefer plot in the stories he reads or movies he watches to characterization; the latter will consider plot trivial compared to characterization.  I’m convinced that normal men are sagaceptuals, normal women anthroceptuals.  But not necessarily all the time.

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Entry 554 — Maurice Golubov « POETICKS

Entry 554 — Maurice Golubov

I’m posting this because (1) I need an easy entry because I’ve been away from the computer all day; (2) I came across this image in the latest issue of ARTnews and liked it; and (3) I’d never heard of Golubov, and thought I was pretty familiar with American non-representational painters of value (and he is American).

 

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