As vibrations continue, the fusion system is leading to a video poam presently titled Conjoined Constellations whose sound is a studio rendition of the cosmic-fuse poam iteration that was part of the Arts on Earth event. A still from the video poam in progress:
(the Conjoined Constellations of Place and Proximity video poam will be part of the Arts & Bodies Arts Lab on Friday, 6 November at 9:30 am in the Video Studio in the Duderstadt Center)
Listen to the entire Arts & Bodies poetry reading:
As you listen to the entire event, please listen out for another event within the event, one where some of the extraordinary vibrational possibilities of poetry are realized; there is a difference in how language sounds when the poets introduce the poems about to be read and how language sounds within the environment of the poems themselves. As the language of the poem is spoken, space itself is activated by poetic forces, energy, vibration, and the words move apart, become multi-dimensional; more space is allowed for each word to itself become an intellectual and aesthetic habitat; the warping power of the poetic word become apparent; space behaves differently around these words. Sometimes there is an attempt to construct visible evidence of this warping, this displacement, this augmentation of non-poetic event space in the spatial placement and arrangement of the content of the poem, but there is no requirement that visual representation of a poem system betray the vibrational potential of the poem, a weak force perhaps in that much of the energy of the vibrational potential of a text poam goes into the mind and affects primarily perception and understanding, vibrations from interactions with perception and understanding then able to reach and influence human activated, including decision-making and policy-formation, something that perhaps could undergo more frequent encounter with the poetic warping of space that exposes more dimensions to consider in configurations of realities and the impact of a range of configurations on what inhabits those realities.
It is worth noting that the vibrational impulse was so intense as I considered Rogers Place and Proximity that the cosmic fuse poam emerged without the seeking of permission from Pattiann Rogers for the inclusion of some of her text. Because vibrations (idea energy) fused the texts of our pieces into a conjoined, mixed up structure that does not maintain distinction of author integrity within the mix, the text version available here is the fusion, is dependent on being fused; when asked to read a poem for the event by myself and by another author, a scenario system for a fuse poam was enacted. My text poam is an embrace of Roger's Place and Proximity (a form that differs from Roger's typeset intentions for the architecture of text as seen in Eating Bread and Honey It is the child of Pattiann Rogers' text poam and my text poam: Conjoined Constellations. Pattiann Rogers and I are the parents of the cosmic-fuse poam that is the offspring of this marriage I arranged for the occasion of Arts and Bodies. It is our baby that Pattiann, a participant in a conception, is/was (assuming awareness occurs or is occurring now) unaware of as the conception happened, from her (re)configurable point of view, remotely, without the necessity of her consent. And even if now she denies permission, the baby has been born, has a life that is neither Place and Proximity nor Conjoined Constellations alone or separately; it is offspring that inherited from both parents and has its own system of configuration, its own system of being and interaction; it is its own host of vibrations. Here's the text content of Place and Proximity as it appears at Nox Oculis:
I'm surrounded by stars. They cover me completely like an invisible silk veil full of sequins. They touch me, one by one, everywhere-hands, shoulders, lips, ankle hollows, thigh reclusions.
Particular in their presence, like rain, they come also in streams, in storms. Careening, they define more precisely than wind. They enter, cheekbone, breastbone, spine, skull, moving out and in and out, through like threads, like weightless grains of beads in their orbits and rotations, their ritual passages.
They are the luminescence of blood and circuit the body. They are showers of fire filling the dark, myriad spaces of porous bone. What can be nearer to flesh than light ?
And I swallow stars. I eat stars. I breathe stars. I survive on stars. They sound precisely, humming in my nose, in my throat, on my tongue. Stars, stars.
They are above me suspended, drifting, caught in the loom of the elm, similarly enmeshed in my hair. They are below me straight down in the deep. I am immersed in stars. I swim through stars, their swells and currents. I walk on stars. They are less, they are more, even than water even than earth.
They come with immediacy. They are as bound to me as history. No knife, no death can part us.
, though the structure of the text there may in part be an outcome of the idea system interacting with limitation of text display in the book format, which is to say that the vibration patterns of the idea system could map differently in other scenarios, especially scenarios that acknowledge scale as it expands and contracts in the idea system of the poam; like constellations themselves, words appear to be on the same plane although stars, stars may have the proximity of illusion only, the proximity of the limits of human depth perception, that sky a single plane of human perception, a powerful yet inescapable gathering of the stars, tethering them with an inability to separate them into vastly far apart celestial objects that have no alliance to form in their own perspective patterns we see as star neighborhoods, as constellations onto which humans are able to project and illuminate aspects of human understanding; but I would not want to give up the beauty I can impose on star groupings and clusters, the configurable nature of star clusters to form shapes of some of what is familiar and close, a visual intimacy with stars and their radiant invitation to play connect the dots I am reminded of what Gwyneth Paltrow says at the end of Proof, of the navigation of the math being like connect the dots, but at times she couldn't find the next dot or wasn't even sure that there was a next dot, but the tether itself proves trustworthy Here's the trailer):The paper page, of necessity, of its usual (pop-up books a notable exception) 2D playback of content displayed in its flat (or flattened) environment compresses multidimensional content into a form the flat page can accommodate; most mirrors do not display our faces in 3D. Reading the text poam, experiencing the text poam in a variety of ways can assist in uncompressing the poam. Compression of the text poam so as to inhabit an environment of fewer dimensions flattens those dimensions, rather like nets of polyhedra:
a flattened or compressed form of a dodecahedron:
(from mathnstuff.com) and a dodecahedron and its net:
(from boxvox.net)
At Origami Polyhedra, a step-by-step guide to making compressed and uncompressed forms of polyhedra can be experienced.
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