First, the procrastination. This week has been one of fiddle farting and might be characterized by this "poem."
Note: I consider myself no poet, but...
The way this works is as you click on each stanza you'll go to a wordle cloud. Then when you return to the poem, the part you've read will have disappeared. And each wordle word cloud gets smaller with each ensuing stanza.
It also seems each word cloud might be another poem randomly generated from the remnant stanzas.
Of course this is stupid and duh. But I'm procrastinating...farting around rather than writing my novel…
This may also be a humorous poem, intended as a joke [perhaps validating the intentional fallacy, making Wimsatt rather Beardsley]. For instance, "Myskin" seems a proper noun and in its context, seems an event. “Meta-For” and “Odd-Appeal” are perhaps the proper names of people.
What a waste of time, or was/is it? I don't know. You decide...
Word/Wound de Meta-For sutures Odd-Appeal during Myskin, sweating Inside-Out
vibrating like This the Simile sewing Its scattered Black Hole Ashes, blowing Saturated Trombone
awareness as Onset de Mew-Tate Offspring stitching Redundant Emergencies, perverting Chaos into Arabesque Patterns of Itits Loving
regardless of Him Orher
Poet and BlazeVox[books] publisher Geoffrey Gatza informed me at last weekend’s wildly successful Buffalo Small Press Bookfair that the cover of my novel, Smoke, which he designed, is a photograph!
This blew my mind as I was certain it was a work from Photoshop. It turns out he’s a sharpshooter and shot a series of photos of “Cloud Gate” by British artist Anish Kapoor in Chicago’s Millennium Park while attending the AWP conference in February.
Here are the links to these amazing pictures:
And here is the whole set of images around it. They start about half way down:
These photos remind me of my limited understanding of M-Theory, which is related to string theory. M-theory states the big bang was actually the membranes of two universes colliding. The sparks from that collision and ensuing friction seams the observable matter of this universe or dimension. All we perceive and reflect-project-express—among them language and art—seems to seam reflections on this membrane, or brane as some pros may have it. So appearances change as we and "others" move through space time [consider Escher].
Gatza’s photos of Kapoor’s work seems to me a representation of mind-matter-energy in motion...a river-like progression projecting/reflecting cognitive material energy confronting space-time and scooping out portions of it with a camera lens.
And one of these spoonfuls made the cover for my novel.
For more info see:
"What I wanted to do in Millennium Park is make something that would engage the Chicago skyline…so that one will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, will be able to enter into this very deep chamber that does, in a way, the same thing to one's reflection as the exterior of the piece is doing to the reflection of the city around."
An excerpt from Kapoor’s Wikipedia article:
"Kapoor's pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, evoking mystery through the works' dark cavities, awe through their size and simple beauty, tactility through their inviting surfaces and fascination through their reflective facades. His early pieces rely on powder pigment to cover the works and the floor around them. This practice was inspired by the mounds of brightly coloured pigment in the markets and temples of India. His later works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with, dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female and body-mind). His most recent works are mirror-like, reflecting or distorting the viewer and surroundings.
"When asked if engagement with people and places is the key to successful public art, Kapoor said, 'I’m thinking about the mythical wonders of the world, the Hanging Gardens of Babylon and the Tower of Babel. It’s as if the collective will comes up with something that has resonance on an individual level and so becomes mythic. I can claim to take that as a model for a way of thinking. Art can do it, and I’m going to have a damn good go. I want to occupy the territory, but the territory is an idea and a way of thinking as much as a context that generates objects.'"