[-empyre-] Poetry and/or poetic

Pall Thayer palli at pallit.lhi.is
Fri Mar 13 00:20:05 EST 2009

> About what Sally Jane said,
> "interested in the non-binaries. the unfathomable in-betweens. including
> those perversely spawned by digital systems. can't sets of relations be
> hypothetical/ ephemeral constructs that allow us to conjecture, without
> having to smack of finitude forever after?"

This point I also found interesting. I'm not sure what it is, perhaps
the increased emphasis on "art as research" espec. in the academic
realm, but we seem to have lost sight of those elements in the arts that
aren't easily explained. As Sally says, "the unfathomable in-betweens"
and this is what the idea behind the Microcodes is. That a full meaning
of the pieces can only be gleaned from those invisible, unmentionable
spaces in between the combination of title, code and result and even
then, it's still left sort of hanging in the air like a ball that forgot
that it was falling. This is what makes me wonder where these belong.
Whether they belong in my realm within the visual arts or dancing
somewhere along the boundaries between poetry and visual arts. I don't
know. For me it's a very open-ended experiment.


> And:
> On 12/3/09 2:57 AM, "davin heckman" <davinheckman at gmail.com> wrote:
> > But where things get exciting is when someone figures out how
> > to make a machine do something it isn't supposed to do.  Hackers have
> > been doing this with computers.  But poets have been doing this to
> > language for a lot longer.  And when I see a poet try to test their
> > are on a machine which is ruled by numbers...  it's impressive.
> > Especially if they can make the language of the machine into the
> > language of the human.  (And, those two languages are a bit different
> > in their theory, origin, evolution, and daily use).
> I thought I would add to this conversation some of the output from haiku
> robots, which is showing now. The numbers below are mine but the words
are a
> result of the robots and the computer interacting. Once everything is
> switched on, their is no further human involvement except reading the
> afterwards and picking bunches of words.
> 1. 
> red
> sigh
> is 
> shy
> 2. 
> knit
> bawdy
> bike
> epic
> 3. 
> no
> hash
> blimp
> end
> fly
> our
> joys
> oxide
> ha
> 6.
> god
> hugs
> yes
> fern
> 7. 
> commas
> leash
> nails
> sos
> 10. 
> no
> lag
> chess
> pi
> rips
> like
> jaded
> held
> set
> I liked the recent comment on the list questioning trying to define
> when artists are involved in a process of erasure in definitions, by
> producing works that are in tension with boundaries.
> Incidentally it took six days of exhibition to get a partial English
> sentence: 'or deem to ask'. There is no sentence structure in the code for
> the robots or the software of the customised spell checker.
> One of the contexts for this project is the notion that language arises
> naturally from information embedded in structures.
> Click through links at ianclothier.com, to see an image of the work
and some
> video. This project is also a collaboration with Andrew Hornblow and
> Priest.
> Eventually more poems will be added to the site.
> Ian Clothier   
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Pall Thayer

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