19 junio 2011

An Eye For An Eye To the Naked Eye (Manifesto)
Haroldo de Campos, 1956

an art – not one that presents – but one that makes present
                                                            the OBJECT
a non-objective art?                             no
                                                            :OBJECTAL
when the pondered OBJECT is not the expressed OBJECT, the expression has a cavity


                                                HENCE:
failed the traditional means of attack on the OBJECT
(language of quotidian use or of literary convention)
a(a) new(new) means(language)                                      of direct attack on the
                                                                        medulla of that
                                                                                    OBJECT
CONCRETE POETRY:                                                verbivocavisual update
                                                                                    of the
                                                                                    virtual OBJECT

GIVEN:
                        words have a dimension that is SPATIAL-GRAPHIC
                                           a dimension that is ORAL-ACOUSTIC
                                           a dimension that is CONTENT-BASED
                        acting on the commands of words in those
                        3                      dimensions                            3


CONRETE POETRY lays siege upon
the pondered OBJECT in its multiple facets: foreseen or unforeseen: veiled or revealed: in a game of mirrors ad infinitum in which those 3 dimensions 3 mutually-stimulate each other in a reversible circuit, freed from the shock-absorbers of language for habitual communication or from literary convention
a
NEW ART of expression
demands an optic, an acoustic, a syntax, morphology and lexicon (revised on the basis of the phoneme itself) that are
NEW
PAIDEUMA
cast of culturmorphologically active authors in the historic moment = qualitative evolution of poetic expression and its tactics:
            POUND – ideogrammic method
                              lexicon of essences and medullas (precise definition)
              JOYCE – palimpsest method
                              atomization of language (word-metaphor)
     CUMMINGS – phonetic pulverization method
                               (spatial syntax with an axis in the phoneme)
    MALLARMÉ – prismographic method (spatial syntax with an axis in the “prismatic
                               subdivisions of the idea”)
and why NOT THE FUTURISTS?      - “process of total light” against
                        THE DADAISTS?        - the black-out of history –
                                                            v a l i d a t i o n
of the positive contingent of these “isms” in function of the OBJECTAL or CONCRETE poetic expression
neotypography, “paroliberismo,” imagination without thread, simultaneity, sonorism, etc. etc.
                                           etc. etc.
            i
                                    n
FUNCTION of a                                  NOT
barely psychology                             RATHER
phenomenology
of the              composition
CONCRETE POETRY =
        poetry positioned in the culturmorphological viewpoint next to
                                                CONCRETE PAINTING
                                                CONRETE MUSIC
        respecting the relative differences but – it’s not about the image of the work of
        art in its totality – understanding the common necessities for artistic expression
                                              CONTEMPORARY
PROGRAM:
the CONCRETE POEM aspires to be: composition of basic elements of language,
        organized optic-acoustically in the graphic space by factors of proximity and
        similarity, with a kind of ideogram for a given emotion, attempting the direct
        presentation – the making present – of the object.

CONRETE POETRY is a language adequate for the creative contemporary
        mind
        it allows for communication in its + rapid degree
        it prefigures for the poem a reintegration into daily life similar to what
        BAUHAUS did for visual arts: it seeks to be a vehicle for commercial propaganda
        (newspapers, signs, TV, cinema, etc.) it seeks to be an object of pure enjoyment
        (working in architecture, e.g.), as a field of possibilities analogous to that of the
        plastic object
        it substitutes the magical, the mystical and the maudit for the USEFUL

TENSION for a new world of forms
                                                VECTOR
                                                        for
                                                            the
                                                               FUTURE

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