One Comment for “Wrd Wthn Wrd Wthn Wrd”

1. (L’hermétisme mallarméen obéit au rêve fou d’une écriture qui échapperait aux vieilles typologies de la rhétorique et du style)
   «Sait-on ce que c’est qu’écrire? Une ancienne et très vague mais jalouse pratique, dont gît le sens au mystère du coeur. Qui l’accomplit, intégralement, se retranche. »
   « L’œuvre pure implique la disparition élocutoire du poëte, qui cède l’initiative aux mots »
   ««« Stéphane Mallarmé »»»
   L’œuvre idéale, telle le granit sur la tombe de Poe, serait un calme bloc ici-bas chu d’un désastre obscur,météorite dû à l’explosion d’un astre inconnu, sans origine, sans fin, morceau d’objectalité, si je peux employer ce terme pour signifier que le poème ne renvoie à nulle subjectivité humaine, et que, fermé sur lui-même, autosatisfait, il jouit de son évidence accessible à nul autre regard que le sien.
   «Vaincre le hasard mot pour mot.»
   Sommes-nous capables d’écrire ? Je veux dire de ce geste où la déprise de soi témoigne du sujet que chacun n’est qu’à risquer de ne plus être ou de ne l’être qu’en passant. Qu’en passant, oui, comme si là où l’apparition cerne la disparition le lieu proprement dit de ce sujet, de ce soi du soi-même accusait, soulignait l’effort tendu de l’être qui s’y distend, qui s’y étire et qui s’y inscrit, de ce fait même, dans une trace qu’il convient de considérer comme l’abord même de ce que peut être l’écrit là où l’écriture, en ce geste où la perte inscrit le sujet, advient à l’être de ce qu’il est dans la déprise de soi où sa défaite n’a cesse de le recréer à chaque fois.
   The unfinished work of Mallarmé suggests that the failure of the literature is perhaps one of the very conditions of the literary experience.
   The obvious post-human circulating on the Internet are a striking example. They mix pieces of philosophy, biological resources, systems sociological formulas ethnological, processes poetry, science parallel. The eclecticism is also suggested by the form: these are pieces of text that seem manufactured by a cut and paste all of which has not really logical continuation syntactic and… guiding semantics.Is this the message of post-humanity? A lack of logical sense that much closer to the decline of “subject” and mourning of the “object”. En d’autres termes : une déshumanisation. In other words: a dehumanization.
   « Qu’est-ce que le moi ? », … « moi », objet visible du sujet (du « je ») qui se cherche, n’est rien qu’une croûte flottant sans support sur un néant d’être.
   ‘Explosion of meaning invested writing logic, claiming, for example, a humanity, seen as the concurrent operation of all the senses (their development), today, some diktats of new Oralités, via new technologies (producing yet d’ writing a massive, but what writing?), bazarder want humanity to be the Law of writing.
   Should we believe that new technologies offer a new “alphabet” bearer of freedom but that is the opposite of our ability to read and write, conquered so hard? A new process that would give us a sense of infinite much less human?
   It lies at the bottom of some closet,
   The old alphabet any yellowed,
   on d’histoire, My first & ccedil; on the history,
   My first step towards infinity.
   And the topic of “sense”, which is it?. Internet, the perfect paradigm, which induces a “subject soluble” leads to a soluble conscience and would add even a responsibility soluble which is nothing revolutionary and more like a leak, a delay of identity to a multiple collective identity which probably will limit the freedom (to do that right now the endless connections (and the loss of centre “) is a shipwreck that you can hide the prison to be built).
   “without head or tail, since everything the contrary, there is both head and tail, alternately, and vice versa.” There is no center, so “we can cut where we want….” It advises: “Take a vertebra, and the two pieces of this tortuous fantasy to join without penalty - chop it into many fragments, and you will see that everyone can exist “. It joined the definition of rhizome: “A rhizome can be broken, broken at any point.”
   The poetry has a tendency to reflect on itself: its functions, how it works, its existence … It is clear that the poetry of poetry, poetry philosophical poem of the definition of poetry, poetry… poetic art collections which have a game between the gesture of making poetry and poetry itself, the act of writing thoughtful, a rough reproduction until paratexte, poetry who thinks the new metric, hors metric prose, white, objectivity lyric, “objects” poetic , Features, are a reality that must not elude us and that requires perhaps a reflection post-poetic and even pre-post-human.
   This, then, a “novelty” that grows in full “crisis of worms”.
   The sentence of Mallarmé, reported by Valery to be a response to Degas, “this is not with ideas, my dear Degas, which is made by worms. It is with words “, brings a certain modernity (literal), even if it means” language “for” words “. A modernity - to interpret - linked to a conception of the creative process of language (whose philosophy lives), which does not, neither, linguistic unity, its spatiality, its formality.
   And it is undoubtedly in the work of artists that the experience of the new contingency neurocorporelle find more traces of the bonding between the human body and machine, without our sense rational “(our vision of the world written linear) is still too upset. But, after all, is not it one of the functions of art, including poetry that make us more humane technique? Et si c’est le cas, de transformer l’humain en post-humain tout en douceur ? And if it is to transform the human post-human while soft?
   {http://www.kainos.it/nonluogo/caignard-postumano.html}
   [that which does not cease to write itself is that which ceases not to write itself]
   ce qui ne cesse pas de s’écrire est cela qui cesse de ne pas s’écrire
   [what does not cease being written is that which ceases not being written]
   quale non smette di essere scritto, è quello, smette di non essere scritto
   [which it does not stop of being written, it is that one, it stops not to be written]
   qual não batente da escrita, é esse, ele para para não ser escrito
   [which not jamb of the writing, is this, it stops not to be written]
   The word “FRAGILE”, obliquely.
   Original text:…crise de vers Translation: French » English…crisis worms
   “avec le can-o-worms”
   The worms (the latin versus, “the path, the line of writing,” then “the worm” historically “which returns to the line”) is a statement linguistic subject to formal order metric. Compliance with such constraints, which may be implicit or explicit, will depend, in a given crop and at a given time, recognition of a statement as worms.
   Worms of mirliton are to easy, regardless of inquiry, in which the reader immediately detects number of words which are just for the rhyme, or to obtain the proper account of syllables.
   For example, in their first episodes, the characters of the series Placid and Muzo Jose Cabrero Arnal, spoke as follows:
   « (Muzo) Two cents higher, here’s a rhino!
   (Placid) It looks débonnaire, with its strange pif in the air!
   (Muzo) monitors your pulse, retain your breath »
   « The work involves the disappearance pure élocutoire of the poet, who cedes the initiative to words, by their striking inequality mobilized, and they light up mutual reflections as a virtual trail of lights on stones, replacing breathing perceptible in the Former lyrical breath or personal direction enthusiastic of the sentence.» .M.
   Words are typically written by placing letters into generally accepted orders.
   Sök resor utomlands!
   from our linguistic model
   over a glotto of actual words and word glossings which were pre-selected
   for sequences, that is to say: so goes the ox-plow - turn,turn,turn.
   (et cetera)
   boustrophedon =
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   ox xo ox xo ox xo ox xo ox xo ox xo ox
   xo ox xo ox xo ox xo ox xo ox xo ox xo
   b i n d e r y
   - - - - - - - - - - - -
   ea. leaf
   strung spine
   & bonefolder
   creased flatwidth
   recto for verso
   & multisignatures
   press’d to pulp
   of pound’d paper ,
   pages.
   « turning
   &
   turning »

   Posted By: troylloyd on September 8, 2008 at 10:01 am

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