December 02, 2007
CONCEPTUAL POAM SYSTEMS
Introducing the conceptual text-based visual systems of Jason J Gillingham.
You are not likely to find work like Gillingham's in most anthologies of poetry, even in anthologies of L=A=N=G=U=A=G=E poetry where there is exploration of the language's inexactitude and uncontrollable interfaces so that its use does not clarify and only seems to because of the trust placed in language without considering the structural and conceptual limits and fallibilities of language. The fragmentation implicit in language usage in exposed by Language poets; there should not be expectations that groups of words can form reliable coherency when it cannot be determined with any exactitude just what is being connected and what the logic of the connections might be.
Rather than trying to produce incoherent poems, language poetry extracts the meanings and portions of meanings that might be available in arrangements operating on other logics, often based upon the nature of experiences words have endured in use, misuse, overuse, abuse. negligence, assumption, over trust. etc.
HIGHLY COMPATIBLE WITH LIMITED FORK POETICS, AND MAY BE CONSIDERED A BRANCH OF LFP
Gillingham is not deliberately making poams; while text is a part of his work, the text is not meant to convey meanings based on their definitions. The words are placed in situations that change them, revealing alternative concealments, often at the expense of linguistic and syntactical integrity. As the words interact with their environments, there is a physical reaction. Usually, words are representational, but in Gillingham's poams, the words have thingness, and as things they are liberated from representing what they are assigned in language systems.
Of course it is possible to view Gillingham's text objects as fragmented, but I think of the situation of Gilligham's text objects more as the splitting of pods when growth erupts, the accessing of the interiors of the egg; Gillingham opens the words, none of which are empty.
The use of words as objects, and the making of poems that arrange these objects according to systems other than definitions is also compatible with L=A=N=G=U=A=G=E poetry although Gillingham's work, nor the work of Ed Rusha is usually categorized as poetry, as problem with dominant and domineering systems allowed to shape the systems of significance/insignificance that shape the rules and protocols of society.
Web feature written by Sally Shelburne, designed and produced by Donna Mann, and edited by Ulrike Mills. Thanks to Jeffrey Weiss, Barbara Moore, Phyllis Hecht, Lesley Keiner, Ira Bartfield, and Ric Foster for their contributions to this project.
A special note of gratitude to Ed Ruscha and his staff for their generous assistance in the development of this online feature.
1. Neal Benezra and Kerry Brougher, with contribution by Phyllis Rosenzweig. Ed Ruscha [exh. cat., Hirshhorn Museum and Sculpture Garden] (Washington, 2000), 144.
2. Benezra and Brougher 2000, 147.
3. Benezra and Brougher 2000, 145 and n. 1.
4. Yve-Alain Bois, Edward Ruscha: Romance with Liquids, Paintings 1966-1969 [exh. cat., Gagosian Gallery] (New York, 1993), 15–16."
Text & credits from National Gallery of Art
I hope that you find considerations of intention a bit different in these conceptual poam systems than you've found in other more conventionally displayed print poams.
For some of you, what follows will be an introduction, for others an opportunity to reacquaint yourself with what I consider extremely significant conceptual poam work by two visual makers whose text systems are enclosed by visual systems further enclosed by the placement of text systems within visual systems and by the content of the text systems.
Those of you unable to readthe text systems literally, will still be able to read non-literal implications of the text systems.
Shirin Neshat is primarily visual (still and moving) poam maker whose pages (a page is a host of a poam event; where a poam event pccurs) often disallow negative space, text filling any location in the map of the poam that may be filled:
This visual poam by Shirin Neshat may be experienced in its source context, and more
of her visual poams may be experienced at Iranian.com.
Lalla Essaydi, visual poam maker of Converging Territories, a collection of visual poams in which what might otherwise be consigned to negative space is populated with text to an extent that saturated black areas of visual poams may be perceived as areas where text is so dense, so saturated, that individual parts of texts are not discernible, as evident in:
This visual poam may be experienced in its source context, a neighborhood of other Essaydi visual poams from Converging territories at: Laurence Miller Gallery.com
**Please Note: the comments about text density are offered only as a way of considering that visual poam aspect/element, not the way.**
Notice (as a result of what you've already encountered in this post, and in other posts, and in your poem and poam experience) how the resonance of an idea can help sustain interaction (a form of poam vibration, emanating pulses, waves, reverberations, etc.) , linking a poam or allness (area of forcus) to other areas, those linked areas being shaped by each other into other implications, other possibilities. Indeed, my incorporation of Galway Kinnell's Saint Francis and the Sow into my print poam Deirdre in Kinnell's Saint Francis and the Sow is sustained interaction, interaction bridge, and mutating (over time) reverberation. The link to Tokyo Butter's table of contents (actually referred to as search results in the book, offers a basic framework of sustained interaction or interaction bridge systems through close examination of your search of these search results.
It becomes evident that a conceptual system organizes the book, and reasonable conjectures can be made about possible principles of organization of the conceptual system --just from examination of the What Is Found There, a collection of charged essays considering how poetry can interact meaningfully with world systems, shaping them through interacting with them, and with persons who can also act as shapers, not just by regarding the intentions of makers, but also by extending those intentions, personalizing them so that the participant in a poam system acquires some intentions; that is: find something in a poam system that you can use meaningfully.
What can be found in poam systems can be profound, but the finder must be receptive to finding something, and must have a set of tools (that the finder must define) able to extract something from a poam system, a something that the finder can then attempt to shape into something from which others can find something.
(and that is also [part of] why we blog)
Here is a conceptual poam system of enclosure, Where Poetry Lives, submitted by 240 Forker Priya:
Let us assume that each part of a poam system contributes something (on some scale for some duration of time on some scale) to the poam system(s) to which the part belongs, and that parts of a poam system can include, to some degree, on some scale, for some duration: syntactical elements, images, linguistic patterns, aesthetic devices, maker intentions, syllabic patterns, rhythmic patterns, sonic patterns, visual patterns, oral patterns, co-maker contributions and extractions, and so forth;
and let us assume that readers of poam systems are also co-makers of poam systems in the interpretive patterns that co-makers construct during encounters with a poam system, interpretive patterns which themselves may be eligible for consideration as poam systems.
Here is Bubbling, one of forkergirl's video conceptual poam systems
(also available for download in both or either a high or low resolution version from the Limited Fork podcast, and available for viewing on you tube ):
and will include a huge quilt that will be able to cover (conceal?) the walls of a room (a lot of variety here! in the size differential)
The following video poam components (or video stanzas from You Tube (that fascinating bifurcating enclosure system) by way of Baraka, a film (video poam) by Ron Fricke
(by the way, each video excerpt or video stanza is also an allness that is also hub, bifurcation point, bifurcating system, fluid stanza, visual and sonic punctuation, illumination, etc.):
This Baraka video stanza allness is available by link only; embedding has been disabled for: Baraka II.
Please continue blossoming and enclosing, folding and unfolding, illuminating and being illuminated, configuring and reconfiguring
not just by 17 December 2007, but for the rest of your lives.
Posted by thyliasm at December 2, 2007 09:19 AM
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