Urceptuality « POETICKS

Archive for the ‘Urceptuality’ Category

Entry 1674 — The Sun & My First House

Saturday, December 27th, 2014

For the past two days or so I have been feeling like I am on the verge of really getting started on a Major Work beginning with an in-depth survey of my theory of awarenesses.  I couldn’t figure out why until I thought of the transitting sun.  That’s what the sun is called when one is considering its location in one horoscope: right now the Sun is at 6 degrees Capricorn in the sky, which puts it just in my horoscope’s first house, which begins at around 3 degrees Capricorn.  This house, as you might guess, has to do with beginnings!

It’s all rot, but fun.  And I have to admit, when my life is suddenly doing something good that my horoscope says it should be doing, it encourages me, however many more times I’ve compared what my horoscope said my life should be doing with what my life was doing and found no similarity at all between the two.  I think it’s because nothing in my life is ever encouraging.  Okay, exaggeration.  What’s more true is that the few things in my life that have been encouraging resulted in nothing but disappointment: get the gig at the Scientific American website, for instance.  To be maximally accurate, I should say that the stars are no worse at predicting good things for me than real life is, and not as depressing when their predictions are full of hooey, because I don’t really believe in them.

On the other hand, anything encouraging is good for me, if I can even half believe in it for a few minutes because I think people like me may have an urceptual optimist in us that is sensitive to any sign of encouragement, and able to minimize all that our internal pessimist tries to warn us about.

Note: you have just had a front eye on the birth of the urceptual optimist and urceptual pessimist: neither existed until I began writing the paragraph above.  They make sense to me, particularly the urceptual optimist.  How else explain the insanity that keeps people like me going no matter how unarguably quickly the unreachability of our goals is increasing?

Hey, I also have three new terms for you: “magni-cerebrevalu-ceptual,”  “practi-cerebrevaluceptual,” and “reflexevaluaceptual.” I’ll save my discussion of these till tomorrow.

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Entry 1201 — The Obversopher « POETICKS

Entry 1201 — The Obversopher

Yesterday I came up with another new word, “obversopher,” for “opposite of versosopher.”  A propagandist is an obversopher who wants his understanding of some belief system to triumph whether true or not.  An obtusopher is an obversopher who wants his understanding of some belief system to triumph in spite of its invalidity because he truly fails to realize it is invalid.  A verosophers wants the truth to triumph regardless of whether it validates some belief system of his or not.

I’m confused about the book I thought I was going to write about propagandism.  The above is part of my flounder to find a Unifying Principle for it.

I need a list of propagandistic techniques and of examples of obtusophical irrationality.  I probably should list everything that could possibly be on either list then get them appropriately organized.  Wishlexia.  Varieties of distraction.  Use of logical fallacies.  Cherry-Picking.  Insults.  Decontextualization.

Nothing more today.  Earlier an important external hard drive crashed and I lost two hours taking it to Staples to have it looked at.  My data may be retrievable, but I won’t find out for at least another six hours.  I was worried that I’d lost many good graphic images.  The drive had been for back-ups, but I’d begun using it as my only storage place for a lot of stuff–because I feared a computer crash, not an external drive crash.  Very stupid.  But lucky, for most of the data on the drive was (as I finally remembered after not finding it anywhere on any of my computers) from another external drive of mine, and most everything else recent was on a flash drive that I use to take things from my main computer to the one I use for my blog.  But now a thunderstorm is giving me trouble.  It zapped a half hour of work a few minutes ago.  So I want to get this posted right now.

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Evocature « POETICKS

Archive for the ‘Evocature’ Category

Entry 959 — Lyrico- & Cognitopoetic Evocature

Friday, December 21st, 2012

 

I have two new coinages for you today: alert the New York Times!  I guess I owe the pair to the essay by Marjorie Perloff and some of the responses to it in The Boston Review.  They got me thinking about what Perloff calls “conceptual poetry,” but which, in most cases I know of, is—by my definition of poetry, conceptual prose.  So, were they conceptual prose poems, in which case I would call them conceptual evocature, “evocature” being my name for prose whose aims are those of conventional poetry, a focus on images, psychological relationships, scenes (but not stories) or mixtures of two or all of these to evoke deep feelings.

That meant I had to find a name for conventional evocature, the prose poems everyone is familiar with.  At first I tried “intellectual evocature” for conceptual “poems,” “sub-intellectual evocature” for the other kind.  I was completely against the negativity of this, truly believing that neither sort of text was inferior to the other (or to what I considered poetry), but I found it extremely hard to come up with a better term.

My Roget was no help: the only antonym it gave for “intellect” was “insanity.”  Eventually, I settle on “lyrical,” a term I’ve long used for what most people in the field would agree is “lyrical poetry”—poetry whose focus is on images (especially metaphorically-employed), psychological relationships, etc., and no longer, it seems to me, on its melody, however primary that can be in some of our greatest poetry.  Result: a kind of prose concerned with feelings one can ascend to by solving a difficult mathematical problem or seeing suddenly the way two atoms work together chemically or how to win a knight in a game of chess called “intellectual evocature”; and a kind of prose concerned with feelings generated by the daffodils Wordsworth once wrote of or a love gained or lost or a red wheel/ barrow called “lyrical evocature.”

That prose that is both intellectual and lyrical should go without saying.  I believe that any such mixture will almost always be more one than the other, thus adhering to its definition as more lyrical than intellectual if called lyrical, and the reverse if called intellectual.  That none will ever be able to identify some specimens of mixed evocature as one or the other does not invalidate the definition since no definition that does not fail at its borders in some trivial way is possible.

My two terms did not remain permanent, though.  Before I’d used them without thinking when first writing about the two kinds of evocature, I’d already coined “lyricopoetic” and “cognitopoetic.”  Once I realized I’d put them aside, I was upset.  What a shame to have to give up such clever coinages!  Their replacements seemed better, though: unpretentious and fitting.

But I didn’t stick with them.  What changed my mind, besides my parental pride, was first the coldness of “intellectual” compared with “cognitopoetic.”  Not that the latter glowed with warmth, but “poetic” did seem to me significantly to counter the coldness of “cognito.”  I quickly realized, too, that it was a much more specifically appropriate adjective than “intellectual”—because of  that “poetic.”  It was clearly a good thing for a reader to think “poetry” when told of a kind of literary work called “evocature.”  The adjective would work much better, too, when applied to some art other than conceptual prose.  For instance, an asemic “poem” described as “cognitopoetic” should quickly turn an engagent’s thoughts to language (as the work itself, which might contain no words, might not); the same work called “intellectual” would be nowhere near as helpful in that way.  Ergo, I’m going with my coinages.  Not that anyone but I will use either set.

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Entry 363 — Evocature

Sunday, January 30th, 2011

Ron Silliman’s Ketjak is discussed, and quoted, in an interesting review quoted by Barrett Watten in an entry to his blog here.  I mention it now because of two thoughts that crossed my mind when I read the three paragraphs of Ketjak quoted near the beginning of the review: one is that it was not a language poem, as Barry Schwabsky, the author, claimed, nor is it even a poem.  It is not a language poem because it employs no linguipoetic devices–no devices, that is, based on syntax, orthography or inflection.  It is not a poem because it has no flow-breaks, only jump-cuts, which I do feel qualify as flow-breaks.  The work, assuming it continues to be prose, is what I call evocature, a variety of literary prose.

But it’s supposed to be among the break-through texts of the language poetry movement.  Am I panning it by saying it does neither language nor poetry?  No.  I am merely improving the way it should be taken, which is as a break-through text of what has become language prose.

Of course, hardly anyone will accept that Silliman’s text is not a language poem.  But considering it a poem makes it extremely difficult to distinguish poetry from prose, which I think important to do.  It also makes the task almost wholly dependent of subjective choices.  Using my definition, one can distinguish a poem from prose easily by counting the objectively discernable flow-breaks in it.  Disregarding my definition, one can only tell the two apart (it seems to me) by counting how many elements a given text has that poetry has long be believed to have more of than prose such as figurative language, melodation (alliteration, rhyme, meter, etc.), fresh diction, density, lineation, formal shape  (such as the fourteen lines a sonnet has), and much else.  One must also subjectively evaluate the aesthetic importance of these since no text will have them all, and what everyone would agree is a poem may have only one element of poetry but have it too powerfully not to qualify as a poem whereas a piece of political prose might have a great deal of trite flowery language to qualify quantitatively as a poem, but not qualitatively.  For communication’s sake, it thus makes much more sense to me to prefer my clear definition of poetry to any other one.

As for nullinguistically eschewing any definition, at all, or one that can be applied to anything, it is my simply claim that that is simply to ignore the search for truth.  That is something I, for one, can’t do.

I quite like the excerpt of Ketjak, by the way.  I don’t know enough about what’s been called language poetry to know for sure how historically important it is, but I suspect it has not been greatly over-esteemed.

Difference Between the Sexes « POETICKS

Archive for the ‘Difference Between the Sexes’ Category

Entry 1676 — Mars Rules My Moon

Monday, December 29th, 2014

The planet Mars is interfering with my normal reticence, pushing me to throw away the last shred of my pretense of being a Nice Person by finally revealing that I believe men and women are significantly different from one another.  The transiting moon is contributing to the problem because it has entered the house where my natal moon, and that house is ruled by Aries, the sign of Mars!  Meanwhile, Uranus is currently in Aries, too, and (energizingly) trine to my natal sun.  Uranus is my ruling planet, and basically in charge of craziness, which is what it’s mainly energizing in the present case.  So add it to the mix.  As for Mars, it is conjunct to (with?) my natal sun, which is why it’s having such a great effect on me.  Nothing, I fear can now save me.  I must now continue with my follow-up to what I mentioned toward the end of my letter to William Voegeli.

What I believe was standard educated thought for at least a century before I was born and possibly until 1960.  Somewhere along the way the feminist movement ordained that it was invalid, and that was it.  I’m sure many males, and perhaps a few females, still believed it, but we kept our mouths shut.  Let me be as honest as I can (an Aquarian defect): as an unfortunately close-to-100% male (tall, thin, bald-headed, heterosexual and much else I won’t get into): I not only consider men to be vastly superior to women but consider that a healthy point-of-view (and expect healthy women to believe women to be vastly superior to men).  But I’m intelligent enough to see that men and women have to put up with each other.  Needless to say, my innate sex drive makes that unavoidable for me personally, although not nearly as much now as it did earlier.

I believe men and women are innately psychologically different from one another in a way that increases both their need for each other and the friction between them.  Men give life meaning; women make it livable.  To lunge beyond the minor infamies of popular men-as-Martians, women-as-Venusians books.  Back to what I said about a focus on aspiration and a focus on compassion.

Also: men are oaks in winter, needing the foliage that women are more or less as much as women need the structuring mean can provide them.

Men lead, women follow. Margaret Thatcher was a rare exception, an effective leader, there being about as many effective female leaders as there are superior male leaders, but only a hundredth as many effective female leaders as effective male leaders.  Another effective female leader was anthropologist Margaret Mead.  I don’t think much of her standard anthropological views (what makes effective leaders is their ability to think standardly better than most others, and avoid thinking unstandardly, and sometimes standard views make sense), but I think her right when she concluded that while male and female roles varied from one society to another, males always took the roles that society considered its most important ones (as I’m pretty sure it was her, but I’ve never called myself an effective scholar [believe my ideas, not my data]).  I therefore more than half-think political positions are rapidly losing status in our society now that women are taking them over, and that college degrees have almost most entirely lost status with superior males now that females are proving much better at getting them than all but a few males.

As you may have noticed, I’m into my note-scattering mode now, writing thoughts as they occur without trying (much) for any kind of logical presentation.  I’ll try to make connections between notes when I can, though.  Like the connection of what I’m about to get into back to my honesty about myself.  I said I healthily consider my sex superior to . . . my sister’s.  I bring her into this because something she said to me as a little girl (around ten when I was eleven and the two of us were on the wonderful roof of our wonderful childhood house where no one could see us because of the M-shape of the roof we’d climbed down into where its two sides came to a point).  I don’t remember how we got into it but we were arguing about who was better, boys or girls.  I was winning because my sister couldn’t deny that men were physically superior to women, and in our family even my mother (who graduated from high school at the age of 15) agreed men were smarter than women (although, oddly, I thought my mother much smarter than my father until puberty when I realized that he, though slower by quite a bit than she, was deeper).

I had no reply to what she next said: “Only girls can have babies.”  Later I learned of something called “division of labor,” than feminists seem not to believe in.  But it caused me as the asexual objective being that I am to about an equal degree that I am a male to come to understand that sexes as equal but different–however much the male in me scoffs at the idea.

That reproduction is maximally complex in human beings is central to the division of labor between the sexes.  Women have a womb, and it is not some minor organ they have and men don’t.  For one thing, it must require energy for maintenance that must reduce a female’s energy for other things like boxing and writing symphonies.  It more substantially affects the amount of energy a pregnant female has for various activities.

Meanwhile, the male has no womb holding him back.  One major, rarely-mentioned side-effect of his womblessness, however, is how biologically-expendable it makes him, something I immediately recognized when at the age of 32 I learned about copulation.  (Slight exaggeration in hopes that the wittiness of it will keep any female or girly-boy friend of mine who is reading this from being too mad at me.)  Males are close to biologically irrelevant when it comes to reproduction, because one male can keep a village of a hundred nubile females and no males but him doubling in population yearly, and in eleven or twelve years, more than doubling whereas one nubile female in a village of a hundred healthy young men and no females but him will need help from daughters to ever double the population of her village.

This being the case, why wouldn’t Mother Nature make males courageous, sometimes excessively so, and females timid?  Why shouldn’t they hunt and fight other tribes while females gathered vegetables and fruit, and fled from another tribe’s warriors?  In short, why shouldn’t reproductively barely-relevant males be risk-takers–intellectually, eventually, as much as physically–like me, now, I try to convince myself, never having been much of a physical risk-taker, although I believe I would have been had I needed to because of a confrontation between a scared me and a German Shepherd who bit me (actually, just nipped me in the heel), which turned me instantly into a beserker whose scream of rage as I whirled around to face the dog made the it run away.

Of course, women can take on maleness when necessary, Mother Nature realizing there will be times when males are too scarce to fill all the male roles needing filling; but they won’t be as good males as natural males, nor able to keep it up for very long (generally).  Men can make adequate mommies, too, but not usually for a long time.

Women are much better verbally than men . . . practiceptually, which is all that the the verbal portion of IQ tests test (incompletely).  Orally, particularly, due to the female vocal cords–and superior flexibility of mind (which is also a female defect that makes them more suggestible than men–in the long term).

Culturally, women’s main value is their female point-of-view; that is, they can add much to any art or verosophy that no male can, even a maximally feminine one–just as males can supply much that no female can.

After skimming what I’ve so far written, I see that I’ve left out how Mother Nature has used common sense to make those who bear children have a much stronger mothering-instinct than those who may not be present at a child’s birth.  Indeed, it seems obvious to me that women are the timid sex not only to protect themselves, but to protect the children they bear.  And a good reason they are more empathetic than men is to be able to forge closer bonds than men to their children and be able to react faster to their needs, which they feel within to a greater degree than man.

At the same time, this gives men a freedom from domestic responsibilities, to be emotionally as well as physically better able to put aside their families (especially when young and thus more male than they will be) that allows them to go on quests.

I just remembered one other big difference between men and women.  I discovered its importance thirty or forty years ago but this will be the first time in print I’ve mentioned it.  I can’t believe geneticists are not aware of it, but can’t recall ever reading a discussion of it.  It’s the fact that the y-chromosome, which only men have, is so much smaller than the x-chromosome it joins to form the genotype of the potential human being.[1]  Unless I’m mistaken, the difference in size between the two means that many genes in the x-chromosome have no gene from the y-chromosome to fuse with; therefore variation is substantially increased: there’s no gene from the y-chromosome to neutralize or modify a freak gene from the x-chromosome as there would be in a fertilized ovum destined to become a female.

One of my speculations, by the way, is that our species and probably others have a mutation mechanism that intentionally causes genetic mutations, and that its target is the an individual’s sex chromosome–perhaps, in fact, an ovum’s sex chromosome.  Hence, such a mechanism would increase the possibility of genetic variation.

Be that as it may, this greater male genetic variation would explain why more IQ geniuses as well as more of those of severely reduced mental-capacity are male than female, an empirical fact, I believe.  It seems also a fact that males are much more susceptible to genetic defects and to a lesser degree since they are rarer, genetic blessings.

All this would go along with my theory of the biological expendability of males: mother Nature doesn’t mind if a bunch of males are born severely defective, so she can risk them to test new genes on.  I further speculate that she keeps a woman’s mutation mechanism dormant until a woman is in her thirties, thus seeing to it that a woman’s first children are “normal” and only taking a chance of failed experiments on late-born children, children, in other words probably “extra.”  I particularly like the idea as one such late-born who in his own view must have all kinds of genetic mutations in his XY chromosome.  But my impression is that a fair number of superior culturateurs had older mothers.  And it is a fact that the late-born are more likely to be defective than those to young mothers.

* * *

[1] Sorry, right-to-lifers, but fetuses are not human beings for me, although I’d prefer they live as much as I prefer tadpoles to live (which I do) though much less than I want living cats to stay alive.

* * *

My intention today was to get all my evil thoughts about the differences between men and women down, to get them out of the way.  But there are quite a few more, and details to be recorded, and I’m tiring.  To bring this entry past the 2,000-word mark, though,  I’ll mention where differences between the sexes get most interesting.   Those of temperament are the most obvious: men lean toward being rigidniks, women milyoops (though most are a healthy balance between them.

Otherwise, the main ones are in . . . I can’t remember my name for it: the “cerebrawareness?”  All the awarenesses in the cerebrum taken together I mean.  That would be a good term for it.  Anyway, I contend that the cerebrawarelity of females is substantially different from the males.  Females have a more developed anthroceptual awareness than men, for instance.  I’ll get back to this sometime, but I think it less important than other things I want to discuss (although right now I can’t think what they might be).

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Entry 1200 — On Obtusophy and Propagandism « POETICKS

Entry 1200 — On Obtusophy and Propagandism

This from Steve Steinberg at the Anonymous thread:

I “got” what you said exactly Bob. You’re referring to Oxfordian/anti-Stratfordian arguments as “propaganda” and “wack-text” is the closest thing to actual propaganda I’ve encountered in the Shakespeare authorship debate. So is your penchant for making up “ology” words by which to describe us as mentally unsound. That’s okay. I’m cool with it. It’s cute and charming in a way. But, if there is anyone in the SAQ debate who is a ‘propagandist’ it is you!

What follows is what I made of three responses (here with the above because I’m in my null zone again, in spite of having taken what I call my “zoom-dose”: two APCs and a hydrocodrone tablet:

So far, Steve, you’ve done nothing to indicate you understand my simple point except say that you have. I feel that if you had, you would have made some attempt to refute it.

Moreover, you clearly are ignorant of what propaganda is. For one thing, it is NOT name-calling. As I told Ranny, it is AMONG OTHER THINGS, name-calling as a SUBSTITUTE for responsible argumentation. I just about always supply responsible argumentation, so am NOT a propagandist.

But thanks for mislabeling me, for it reminds me that I neglected something important in any discussion like this: definition of argument-establishing terminology. In this case, the main argument-establishing term is “propaganda.” I will now go to my word-processor to work up my preliminary definition of this. I extremely doubt that you could define it, but you’re welcome to try.

Note, the thought has crossed my mind that you may not be a propagandist but seem like on due to your being what I term a “obtusophist”–one not intellectually qualified to participate effectively in verosophical discussions.

Here’s my definition of propagandism (so far–I know it’s more complex than I suggest):

Propagandism (by which I mean the use of propaganda): the promotion of a belief through the excessive use of appeals to emotion and/or invalid argumentation and/or misrepresentations of effective arguments against the belief being promoted, and/or simple distraction–with a minimum of fact-based logical argumentation for the belief or engagement with fact-based logical arguments against the belief.

I say that you have dealt propagandistically with my fully-argued point about Shakespeare’s exposure to a curriculum–because you have failed to engage it, and used distraction against it (bringing up irrelevancies).  Being propagandistic once or twice does not make you a propagandist.  In fact, I think you are an obtusophist.  Someone who comes up with interesting thoughts he can’t effectively defend, and lacks a coherent serious theory.

Note: my description of you as an obtusophist is not an argument against your beliefs, so not propaganda, just a side-opinion.

Later note for here but not the thread: nullosophers, who are those opposing the search for truth, are inevitably propagandists because intentionally confusing whatever the issue is.  Obtusophers act like propagandists but unintentionally.  They sincerely believe they are on the road to some Grand Elucidation of an Important Subject.  Verosophers sometimes operate like propagandists–by smearing opponents, for instance–but not to win an argument but for the joy of smearing a moron.

“Verosophy,” you may need to be reminded, is derived from the Latin for “true” and the Greek for “wisdom”–or “knowledge.”  Hence, a verosopher is a seeker of truth.  This is a required term in English because English lacks a word for philosophers, scientists, historians . . . mathematicians?  My zoom-dose may be taking effect belatedly, for  a flow of thought is beginning to raise me out of the null zone.  I’ve just thought an old small thought about whether or not mathematics is a science.  I say that because it is not if science is considered a quest to understand material reality (like metaphysics is a quest to understand everything else, if there is anything else–and there is: my consciousness, for one thing; maybe yours, too, although I suspect not.  Mathematics, to get back to that, is a quest to understand itself only.  That it’s splendidly useful in science is beside the point.  (Side-thought: for tomorrow’s essay, students, tell me if mathematics is too important in science, not important enough, or employed just the right amount.  It’s greatly over-used in psychology, I think.)

Okay, we need the term, “verosophy” (or some better term if anyone can come up with one), to cover all the forms of serious truth-seeking, to wit: science, philosophy, mathematics, history. . . .  Step back, I feel another coinage gurgling up: “sociodominancy.”  I think I have some other word for that but it would probably take me a couple of hours to find it, so the heck with it.  Sociodominancy is the art or science of winning ascendancy over others, with sub-categories of politics and . . . war, I guess (I want a spiffier word like “havocry”).  Would chess and bridge be sub-categories of war?  Economics I’d make a sub-category of the science of psychology, ditto political science.  What about geographical exploration?  No.  Geography is a science, exploration a means of gaining truths about it the way looking through a telescope is a means of gaining astronomical truths.

Technology is a sister of science as is art.

Now I have a great urge to see my list of human activities–but I’m so damnable disorganized, I can’t find the list nor where to go that it might be.

* * * I just found one item on the list: “utilitry.”  That would include technology.  Failed to find any more.

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Sexism « POETICKS

Archive for the ‘Sexism’ Category

Entry 1456 — Small Rant Against Euphemophilia

Saturday, May 17th, 2014

Bambi’s mother told him that if he couldn’t say something nice, he should say nothing, at all.  That was sixty or seventy years ago.  The thought is outdated now.  The American ruling class, and their publicity department (the American media), would say, “If you can’t think something nice, turn yourself in (to a reputable professional, of course) for counseling.  This is stupid in too many different ways for me to unfume enough to deal with it without revealing myself as every possible kind of black-hearted sub-human.  But I’ll point out one major way it is stupid, anyway: that once we can only tell others that they are wonderful (for fear of ostracism or legal punishment), there are bound to be people with unusually big hearts who will start telling others they are super-wonderful, and before you know it, the quickest-witted hyper-offendables will take action against those who have called them wonderful–i.e., inferior to the super-wonderful.

These kinds of thoughts I should just reserve for my private diary, but I gotta put something here daily!  I also feel obligated to other members of posterity here already to show them they aren’t alone.  Yes, weird that I would think of myself acting as a member of future generations by expressing views of of generations dead when I was born.

I should shut up but I have so little instinct for self-preservation, I can’t.  So I have to tell you I consider euphemophilia a synonym for what I just found out is “misandry,” hatred of men.  Interesting that you never hear of anyone accused of that. “Misandry” is crummy sounding so I’m going to use “mistestostergy” instead.  And now I really must yank myself outta here . . . except, alas, to make one more archaically self-deluded remark: I do not consider myself even close to being a misogynist.  But, remember, I don’t consider myself close to being homophobic, either, although I don’t think homosexuals should call their variety of marriage “marriage.”  And I refuse to call them “gays.”

really gotta yank myself outta here.  Will it help if I say I don’t respect our president’s intelligence, but don’t respect it less than I respect the previous president’s?

No one’s ever said I had a death-wish, but maybe I have.  (Some have suggested I seem to seek failure, which may be true although, frankly, I don’t believe it is.)  Okay–I go!

Note: I did go.  I’m back now only to say I just named “sexism” as on of the categories this entry belongs in.  I’m curious if that will draw visitors.  Why I would want it to would be a question for my shrink if I weren’t too benighted to believe in shrinks.

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Entry 115 — The Knowleplex « POETICKS

Entry 115 — The Knowleplex

The knowleplex is simply a chain of related memories–A.B.C.D.E., say–or a knowledge-chain. It is what we remember whenever we are taught anything, either formally at school (when our teacher tells us Washington is the capital of the United States, for instance) or informally during day-to-day experience (when we see our friend Sam has a pet cat).

There are three kinds: rigiplexes, flexiplexes and feebliplexes, the name depending on the strength of the knowleplex. One is too strong, one too weak, and the other just right. If we let A.B.C.D.E. stand for “one plus two is three,” then a person with a rigiplex “inscribed” with that, asked what one plus two is, will quickly answer, “three.” But if asked what one plus four is, he will give the same answer, because his rigiplex will be so strong it will become wholly active due only to “one plus.”

On the other hand, a person with a feebliplex “inscribed” with “one plus two is three,” asked what one plus two is, will answer “I dunno,” because his feebliplex will be so weak, even “one plus two is” won’t be enough for his knowlplex to become active. Ditto when asked what one plus four is. But the person whose knowleplex is just right–whose knowleplex is a flexiplex, that is–will answer the first question, “three,” and the second, “I dunno.”

Needless to say, this overview is extremely simplified. Even “one plus two is three” will form a vastly more complicated knowleplex than A.B.C.D.E. The strength of a given knowleplex will vary, too, sometimes a lot, depending on the circumstances when it is activated. And each kind of knowleplex will vary in strength, some feebliplexes being almost as strong as a flexiplex, for example. In fact, a feebliplex can, in time, become a rigiplex. For the purposes of this introduction to knowleplexes, however, all this can be ignored.

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Entry 1124 — Neologizania « POETICKS

Entry 1124 — Neologizania

Late Sunday.  I must be out of the null zone because I’ve been neologizing like mad lately.  One of my new terms is “ellipsistry” for ellipsis poetry.  No, this is not going into my Serious Taxonomy, but the way Marton is going, and the fact that others have made ellipsis poems has me close to thinking such poetry should have a special name.  Serious new Grummanisms are “triumphantry,” “moralitry,” “conspiraplex” . . .   Hmmm, not as many as I thought.  But there was “unseveraling,” too.  I don’t count my ad hoc poeticisms as full-scale coinages, though–just my Important Verosophical Terms.  “Neologizania” is an ad hoc joke, so doesn’t count, either.  “Triumphantry,” which is the feeling of success one experiences when achieving a victory, may be a term I’ve re-coined.  Ditto the other two, now that I think about it.  “Moralitry” is what I call telling other human beings how to live their lives.  I consider it one of the major human endeavers along with art, verosophy, survival, etc.  “Conspiraplex” represents “insane conspiracy theory” as opposed to a conspiracy theory that makes sense: the theory that Bush and Cheney master-minded the destruction of the twin towers, for instance.  I can’t think of a conspiracy theory, by my definition, that makes sense, but there must be some.

Monday.  Here’s another coinage: “ethicry.”  The attempt to live morally.  Opposed to ethics, which is the attempt to determine what living morally is.

Hmmm, not for the first time I find I’ve made up a word I already had another word for–at least in part.  Only six months ago I coined “dominantry” for “what politicans and warriors of various .rts do to achieve positions of power which allow them to tell others how to live theirs lives.  That would include what I mean by “moralitry.”  Still, the latter covers what politicians do, and . . . “subjugatry” would work for what warriors do.  I think “ethicry” a good addition to my list of final human activities, which gives me eight: Art, Verosophy, Utilitry, Recreation, Sustenation, Quotidiation, Ethicry and Dominantry (in order of their importance . . . to me, that is.

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Basho « POETICKS

Archive for the ‘Basho’ Category

Entry 1248 — What a Poem Is

Thursday, October 24th, 2013

I can’t seem to get into this value-of-poetry topic so for now will simply deal with the terminology I came up with several days ago and thought would get me going deeper. I’ve pretty much junked all of my previous related terminology. The new terminology should cover everything it did.

First of all I have ordained that a poem hath:

Fundamental Constituents:

1. words as words, and punctuation marks and verbal symbols like the ampersand and mathematical symbols like the square root sign, or the verbal constituents of poetry;

2. words as sounds, or the auditory constituents of poetry–which can, in the case of sound poetry, include averbal sounds;

3. words as printed objects, or the visual constituents of poetry–which can, in the case of visual poetry, include averbal graphics.

I tentatively would also include negative space, by which I mean not only the blank page words are printed on but the silence their sounds can be said to be printed on, as fundamental constituents of poetry.

Every poem contains all four of these constituents. Taken together, they form the poem’s denotative layer, which expresses what the poem explicitly means. That layer in turn generates the poem’s connotative layer, which expresses what most people would find it implicitly to mean. Note: if the poem is plurexpressive–a visual or sound poem, for instance–its graphics or sounds would contribute to both layers: a drawing of a house would denote a house, for example, and the sound of a gunshot would denote a gunshot. (“Gunshout,” I mistyped that as, at first. Aren’t words fun?!)

The two layers together make up what I’m now calling a poem’s expressifice. (“Boulder”–“bolder” with a u added. Sorry, I began wondering if I could–oops, that’s “cold” with a u added–make a Kostelanetzian list of words like “gunshout.” I didn’t intend for the longer word to be a regular wourd. . . .)

Back to “expressifice.” It is responsible for what a poem says. Okay, nothing new except the Grummanisms so far. Recently, and this is an area I must but probably won’t research, there has been some grappling with the idea of “conceptual poetry” that I have found important and interesting, but confusing. My next “poetifice” is the conceptifice. My Merriam Webster’s Collegiate Dictionary provides a definition of “concept” that I find satisfactory for my purposes: “an abstract or generic idea generalized from particular instances.” In a poem, it would be close to what I’ve used the term, “unifying principal,” for. A poem’s “meaning” seems to me a near-synonym for it, too.

I can’t see that it’s any less “expressed” by a poem than connotations are, and I mention that because my impression is that those discussing conceptual poetry generally oppose it to “expressive poetry,” by which they basically mean “what a poem says” rather than the meaning of what a poem manifests.

It now occurs to me that what the conceptual poets are doing is minimalizing what I call their poems’ expressifices to magnify their conceptifices. If so, my term should be more useful than I at first thought it would be. I feel it of value anyway because of the great difference between what it can be said to express and what the expressifice can.

As I wrote that, I realized that the entire conceptifice of many poems, particularly the most popular ones is not very ideational–is, in fact, just a large connotation. Basho’s famous frogpond (“frogpound?”) can help here, I think (and I’m a bit foggy about where I’m going, but think I’m getting to someplace worth getting to). Here’s my translation of it:

                old pond  .  .  .  .  .  .                     the sound of a frog                         splashing in

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This poem may have more valid, interactive unifying principals per word-count than any other poem ever made. So its conceptifice includes the idea of “the contentment the quiet portions of the natural world can provide one.” Or is that an image? In any case, it seems different in kind to a seond idea it clearly presents: “the wide range in magnitude (in all meanings of the word) of the universe’s moments.” We feel the first, we . . . ideate? the second–while feeling it, yes, but in a another way, in another place in our brains, than we do the serenity the first component of the poem’s conceptifice is about. Poetry, and poetry-become-philosophy.

I will have to come back to this.

The final three poetifices are the aesthifice, the anthrofice and the utilifice. These have to do the meaningfulness of a poem’s initial meanings. Every poem has all three of these, but usually one is emphasized at the expense of the other two.

The aesthifice has no meaning, it just is. (See MacLeish.) It is meaningful for its expression of sensual beauty. It can’t help but express other things, but they are trivial compared with the beauty of its sounds and/or sensual imagery and/or feelings it is most concerned with. In my notes about it I mention “beauty of constituents,” “imagery” (and “deep imagery,” possibly. “freshness of expression,” “archetypality,”display of skill” and “patterning.” There are more, probably many more.

The anthrofice has no meaning, either, but is primarily concerned with human beings, their actions and emotions. It expresses what I call “anthroceptual beauty,” the beauty of human love, for instance. Narrative poetry aims for anthrofices, lyric for aesthifices. Then there’s the utilifice. It does mean. A rhymed text you value because of what you learned from it will feature a utilifice. Beauty of any significance is besides the point, what counts is that what one gets goes beyond what the poem is–the poem is a helpful step toward attaining something more valuable than it whereas a lyric or narrative poem is art for art’s sake. In short, I categorize a “poem” whose utilifice is dominant as a form of utilitry–either informrature if conveying information, or advocature if telling people what to do. Lyric and narrative poems are forms of art.

If I weren’t such a lump, I’d now apply the above to actual poems. As a matter of fact, that’s what I want to do in my November Scientific American blog entry. Right now, though, here’s a rhyme that isn’t a poem:

                     Count that day lost                    Whose low descending sun                    Views from thy hand                    No worthy action done.

It’s from a wall of my high school cafeteria. I don’t know who wrote it, but I like it a lot-–and believe in it! A pretty rhyme but didactic, so not a poem. Its function is not to provide pleasure but to instill (however pleasantly) a valuable rule of conduct.

All of a poem’s poetifices taken together are a . . . poem, a lyrical poem if the poem’s aesthifice is dominant, a narrative poem is its anthrofice is dominant, and a utilitarian poem is its utilifice is dominant.

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Well, I did a lot better than I thought at the start. It needs more work but I’m satisfied with it as is.

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Entry 1059 — Break from MATO Analysis

Sunday, March 31st, 2013

I had a slush-brained day yesterday, so only did a little work on my discussion of Manywhere-at-Once.  Then, while doing a little putting of mine house in order, I came across this.  It wasn’t till I got to the word “aesthcipient,” which no one uses but me that I recognition the piece as mine.  At that point I was wondering who else had written so insightfully about Basho’s old pond haiku, which it clearly concerned.  I’m not sure where it’s from, but I’m sure it was written more than twenty years ago.  Nice to know I could sometimes write so well even way back then!

AnalysisOfOldPondHaiku

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Entry 1012 — Basho Poem, Last Visit

Tuesday, February 12th, 2013

I suddenly realized yesterday that I had my secret messages reversed: the one I thought should be the lower was above the other (as I visualize the piece).  So I redid the poem.  I dropped “and,” while I did so to suggest that what followed might be thought of as the pond, or an illustration of it–as it is intended to be a metaphor for it.

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Entry 1011 — Back to My Cryptographiku

Monday, February 11th, 2013

I reduced the size of the message in code.  Very Minor, it would seem, but I think it improves the thing significantly!  It looks better to me, but the main thing is that it suggests through its reduced size, the secret nature of the message.  Historical note: when I first made a cryptographiku ten or more years ago, I thought I was really on to something.  Within a year or two, I already felt I’d exhausted the form.  I’d made six or seven cryptographic poems, and used coded material in a few other poems.  I did think the cryptophor (coding employed metaphorically) was an effective device that might remain in the poetry tool kit, but that a poem whose central aesthetic effect depended on one had little future.  I still think it may not, but my Basho poem is a new use of the form so gives me hope others will be able to find other new ways of using it.

Psychologically, I find it interesting that I suddenly, pretty much out of nowhere, had the idea for this new kind of cryptophor of mine (which, I will now reveal, involves a method of coding two messages at once–to suggest layers of hidden meanings rather than just a single under-meaning) after giving up on the device.   My experience suggests how long it can take the subconscious to take an invention, my cryptophor, one step further.  At least five years.

In this poem, to continue, the cryptophor suggests the entrance into another world that Basho’s frog’s dive is, and without anyone’s plunge into real, or equivalents of, ponds . . .   I think its meaningfulness makes my poem at least a good one, and its metaphoric use of “doubling coding” makes it important enough to be considered major.  If I’m wrong, all my poetry has been a waste of time.  Oh, except for the pleasure of creativity I’ve derived from it.  But I have a need to make a significant contribution to the culture of my time, not just do things I enjoy, although I’d see no point in making significant contributions to the culture of my time if I didn’t get creative pleasure from the process.  If that were possible: I don’t think anyone can do anything of cultural value doing something he doesn’t enjoy.  (Something verosophical or artistic.)

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Entry 1010 — Major or Worthless?

Sunday, February 10th, 2013

Okay, everybody, I claim that this poem, “Cryptographiku for Basho,” which I finished this morning after having the preliminary idea for it several days ago,  is either a Major Poem or worthless:

For obvious reasons, I tend to go for the former (and I’m not on any pills at the moment).  Discussion on this should follow tomorrow.

(Note: I now have a category you can click to below that has a clue in it for solving this poem–but it will appear under this entry, too.)

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Entry 673 — “Mathemaku for Basho”

Saturday, March 3rd, 2012

I’m not sure when I made this mathemaku–two or three years ago, is my guess. I’ve probably posted it before, but this is a touched up, slightly altered new version:

 

It’s built around a famous haiku by Basho: “on a withered branch/ a crow has settled;/autumn nightfall.”  The Japanese in my rendering translates as “autumn fnightfall.”  My divisor comes out of who-knows-where, but my remainder alludes to a distant sail in a rendering of a Chinese poem by Ezra Pound.  My quotient is a fragment of a map of Norwalk Harbor on Long Island Sound overlaid with portions of a Sam Fancis painting severely reworked in Paint Shop.  The sub-dividend product consists of the SamFrancisfied Harbor in full, and the background graphics are also alterations of portions of the Francis painting.  Fadings, fragmentations, disappearings, endings . . .

I don’t consider this one of my A works, but would be satisfied if all my works seemed as good to me as it.

 

Entry 372 — Mathemaku Still in Progress

Tuesday, February 8th, 2011

If I ever come to be seen worth wide critical attention as a poet, I should be easy to write about, locked into so few flourishes as I am, such as “the the” and–now in this piece, Basho’s “old pond.”  I was wondering whether I should go with “the bookshop’s mood or “a bookshop’s mood” when Basho struck.  I love it!

Just one word and a trivial re-arrangement of words, but I consider it major.  (At times like this I truly truly don’t care that how much less the world’s opinion of my work is than mine.)

We must add another allusion to my technalysis of this poem, describing it as solidifying the poem’s unifying principal (and archetypality), Basho’s “old pond” being, for one thing, a juxtaphor for eternity.  Strengthening its haiku-tone, as well.  But mainly (I hope) making the mood presented (and the mood built) a pond.  Water, quietude, sounds of nature . . .

Oh, “old” gives the poem another euphony/assonance, too.

It also now has a bit of ornamental pond-color.  Although the letters of the sub-dividend product are a much lighter gray on my other computer than they are on this one, the one I use to view my blog.

Entry 44 — A Mathemaku & Some Poetics Notes

Tuesday, December 15th, 2009

The following, which is from #691,  is one of my earlier mathemaku.  It’s simple to understand: just think ripples, and remember that in strict mathematical equations, what’s on one side of an equals sign is upposed to stay there, and what it might mean metaphorically if it did not.

Mathemaku4Basho

Next we have a page  I scribbled some notes on in 2003 that makes good sense to me at this time, although I never took the notes into any kind of essay, that I recall:

Sept03page

And now, after two simple uploads, I’m too worn-out to do anything else, believe it or not.

Entry 385 — My Most-Used Coinage « POETICKS

Entry 385 — My Most-Used Coinage

On 2/21/2011 3:21 AM, Jake Berry wrote:

Bob,  Hope this finds you well. I'm working on an essay and I'd like to use your term 'otherstream', but I want to quote your definition of the word directly. I haven't been able to find it on the internet and I have no idea where it might be among all my books and papers. So how would you define it?  Best, Jake 

Terrific hearing from you, Jake–although it makes me feel guilty by reminding me of what a horrible correspondent I’ve been for going on ten years or more.  So many people I haven’t kept in touch with but should have!  Although I do keep up with you on the Internet.

Ah, the old days when I was one of the Kings of the  . . . Otherstream because I owned my own Xerox!  I’ve had some ungood years since then.  2010 was possibly the worst year I’ve had in thirty years.  But this year, so far, is going pretty well, although right now I’m in my null zone again.

Maybe not–your e.mail has me at least partway out of it.  Great to know someone still likes my coinage, and it was fun doing my own search for it on the Internet.  I found an article about Dale Jensen and his wife, Judy Wells, in which the term was used, followed by a comment by Jack Foley (good ol’ Jack) declaring that Andrew Joron had not coined “otherstream,” Bob Grumman had!

Somewhere else some guy took credit for coining it in 1996. My guess is that I first used it around 1985, so it has just has its 25th anniversary.  If I, indeed, was the first to use it.  Who knows if I did or not.  I don’t care.  I mean, it’d be nice to know for sure some word that more than a few people use was my word, but I’m really not that big about getting credit.  I want money, not credit!

Oh, I also found out there are various businesses calling themselves “otherstream” this or that, including, I think, a broadcast network.

So, a definition.  I’ve defined it in different although similar ways.  I think I would say that “otherstream” is my adjective for kinds works of art the great majority of arts academics, well-known critics, commercial publishers and commercial magazine editors know little more than the names of, if that.  A brief definition: art that’s now taught in college classes.  For me, it means approximately but only approximately the opposite of “mainstream.”  What it’s the exact opposite of is “knownstream.”  That’s because some art is knownstream, like certain kinds of very formal verse–the sestina, say, is well-known to most literature professors but is not what you’d call a kind of mainstream poetry.  I don’t think cowboy poems are considered mainstream, either, or though fairly popular.  I used it mainly for visual poetry, sound poetry and language poetry when I began using it, but some language poetry has become mainstream.

Hope this helps.  Thanks for wanting to use the word, which I think is a useful one.  And for inspiring me to write what I have here, which I can now use for today’s entry in my blog!  Make sure to link me to your essay when it’s online, or send it to me if it’s printed–with the hundred dollar royalty fee I charge for the use of any of my coinages.  (You can use “knownstream,” also mine, for half-price.)

all best, Bob

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