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September 10, 2007

Intro to Poetry - Intro to Rhythm ( **Limited Fork style)

A function of poetry is a (re)connection to rhythms.
Poetry itself, when made of language, functions as a pulse (of language).

(This statement allows for poetry to exist nor made of language.)
(Implicit in this statement also is a definition of language derived from a definition of Limited Fork Poetics: the study of interacting language systems —visual, textual, sonic, olfactory, tactile systems/subsystems— on all scales.)

The association of poetry to rhythms and cycles of existence can suggest the inevitability of the emergence of poetry and suggests the likelihood that poetry emerge in multiple and diverse cultures.

One outcome of Limited Fork Poetics, a genralized theory of making, is a return of poetry to the source of the word: from the Greek "ποίησις", poiesis, a "making" or "creating"

It is my pleasure to link you right here to The Epic of Gilgamesh, one of the oldest written epic (click here for a list of poetic forms).

When rhyme and/or other linquistic patterns are present and obvious, a rhythm, established by the rhyme and/or other linguistic patterns may be discerned. Poerry may, in this way, become an extension of rhytyms that characterize patterns in existence. Linguistic patterns may also help in the memorization of the content of the poems, an aid quite useful in nonwritten trabsmission of information. Content assembled in linguistic patterns also helped link the content to the status of other patterns that seemed to regulate or define patterns of existence such as passage of time as observed through passing of days and related agricultural cycles, gestation periods, seasons, and human aging. Many sacred texts and much cultural history exist in poetic forms where rhythms of existence offer logical locations for examination, contemplation, celebration, and transformation. Patterns may easily suggest evidence of power(s) or combined forces. Rituals, in part, function as patterns that can evoke the manifestation of natural and/or supernatural powers/forces in the human.

Even when spoken, some linguistic patterns suggest and even encpourage singing; a close association between song and poetry remains, and may prove unshakable, given the prominence of pulses (Jazz artist Pharaoh Sanders'2003 album "With a heartbeat" features a bassline built on the heartbeat of Dr. Jean-Louis Zink).

That linguistic patterns may not be apparent in the online version of The Epic of Gilgamesh in the above link may be explained, at least in part, to effects of translation. Still, rhythms of the human body allow for the the pulsed reading of any text.

The use of poetic devices such as line breaks and stanzas or less ordered spatial arrangemnts also regulate the visual movement of print-based poetry.

Sonic forms may further rhythmically punctuate poems and need not adhere to visual rhythms that may not translate well into sonic manifestations which tend not to deliver visual impact well.

"Bubbling" is a video poam (product of an act of making) that applies principles of Limited Fork poetics to themed visual and sonic interactions:

For more about the history of poetry, visit:
Poem of Quotes.com
"The Origins of Poetry, Music, and Dance (Grant Schuyler's essay)

For more video poams, visit:
the forkergirl channel at you tube.

Posted by thyliasm at September 10, 2007 02:17 AM

Comments

I found this article to be very interesting. I never thought of poetry as an emergence of rhythm. To read about early on the emergence of sound and how sound became assigned meaning in the article of the early stages of poetry was very interesting. I never looked at poetry as being simply a way to communicate to one another as the hominids did. I do believe greatly though that it is a way to express an intense emotion. The whole idea of limited fork poetry is very fascinating, and almost leaves me thinking why hasn't it been discovered earlier on? I am in full agreement that poetry should not be limited to object print( books) it should appeal to all senses as for the reason we write it is because we live that emotion. And to be able to record these emotions wouldn't make sense not to do so in the limited fork way.

Posted by: maxell at September 15, 2007 07:14 PM

I agree with Maxwell that it's really new to think of poetry as a way to communicate the way the hominids did. Although, the idea of using poetry to communicate is kind of new too. I've always thought of poetry as a way to "express" oneself, not completely thinking of everyone that might be on the other end. The idea of using it as a communication, not JUST an expression makes me smile. I think of people calling each other up on pay phones and cell phones, through email or just walking down the street, all of them conversing in poetry. Not just prose-y words, but traditional poetry - it's comic in a way, but I think it opens the doors in my mind to a lot of new ideas.

Posted by: dehe at September 24, 2007 06:46 PM

I thought it would be a good idea to wait and respond to a couple of the blogs on your site; I felt like I did not know enough about the subject to make an intellectual response to some of the material.

As a result, I feel I know a great deal more about what Limited Fork Poetry is all about. Please look at my blog for additional comments.

mblog.lib.umich.edu/elefter

Posted by: helefter at November 9, 2007 05:57 PM

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