Read at the CSUN grad English conference on Saturday, meeting Leilani Hall for the first time (know Joseph Thomas, Kate Haake from CSUN already).
Read the cosmology poems from the last section of OOD_ Object Oriented Design (made a chap).
Here's the intro text from that:
Our panel moderator suggested to me that perhaps there was overlap in the submissions of the various panelists in so far as they were related to the idea of “two.” I’ve titled this reading / talk “dual laud controls” which is a phrase from my current book, DaDaDa. The ms. containing these poems is called OOD: Object-Oriented Design, and these poems are from the last book-length section, which is for the time being called “Objective.” Together, these are the first two volumes of a longer project called Confiteor.
The poems in this section were designed (by me) to break down into a few binaries.
These are:
-- “binary,” the sequences of 0 and 1, off and on, which underlies most electronic machinery
-- x and o, hug or kiss, crossing in a point or midpoint / aporia
-- x and y, letters indicating chromosomes
-- and O and 1, x, y, z, n, and o, as both gendered signs and mathematical symbols with exact meanings.
The poems have their basis in modern algebra. Modern algebra is cosmology. In other words, at the time that various algebras were created and theorized, it was recognized by their creator-mathematicians they were a symbol language which merely indicated their own culturally-mediated beliefs in “origins,” specifically the origin of the universe, but also that of people. They came to realize that these ideas had an undesirable prejudicial aspect, at the same time the mathematical ideas came to undergird various military applications, including the computer, as well as throw light on a great deal of psychospiritual pontificating by analytical physicists perhaps not so keenly aware of the creative nature of mathematics.
Many of the quotes I use in these poems are from canonical (in English Literature) erotic poetry: Burns, Shelley, Donne….
By focusing on ideas of number, 0, 1, 2, and 3, I am also writing about sex, and creativity, about origin or genesis, ghosts and machines, and identity. Once one moves beyond the first two numbers, then, which I consider to be zero and one, one keeps counting. Other poems in the larger collection – not those here – deal with imaginary, transcendental, and other numbers which have names which have a psychospiritual charge by virtue not only of their names but also by their situations.
It is this sort of wild argument I believe it is a poet’s privilege to make. In these poems, I try to reveal – to allow the reader and myself to be always conscious of – the intrusion of prejudice, “fact,” habitual expression, etc.
Read the cosmology poems from the last section of OOD_ Object Oriented Design (made a chap).
Here's the intro text from that:
Our panel moderator suggested to me that perhaps there was overlap in the submissions of the various panelists in so far as they were related to the idea of “two.” I’ve titled this reading / talk “dual laud controls” which is a phrase from my current book, DaDaDa. The ms. containing these poems is called OOD: Object-Oriented Design, and these poems are from the last book-length section, which is for the time being called “Objective.” Together, these are the first two volumes of a longer project called Confiteor.
The poems in this section were designed (by me) to break down into a few binaries.
These are:
-- “binary,” the sequences of 0 and 1, off and on, which underlies most electronic machinery
-- x and o, hug or kiss, crossing in a point or midpoint / aporia
-- x and y, letters indicating chromosomes
-- and O and 1, x, y, z, n, and o, as both gendered signs and mathematical symbols with exact meanings.
The poems have their basis in modern algebra. Modern algebra is cosmology. In other words, at the time that various algebras were created and theorized, it was recognized by their creator-mathematicians they were a symbol language which merely indicated their own culturally-mediated beliefs in “origins,” specifically the origin of the universe, but also that of people. They came to realize that these ideas had an undesirable prejudicial aspect, at the same time the mathematical ideas came to undergird various military applications, including the computer, as well as throw light on a great deal of psychospiritual pontificating by analytical physicists perhaps not so keenly aware of the creative nature of mathematics.
Many of the quotes I use in these poems are from canonical (in English Literature) erotic poetry: Burns, Shelley, Donne….
By focusing on ideas of number, 0, 1, 2, and 3, I am also writing about sex, and creativity, about origin or genesis, ghosts and machines, and identity. Once one moves beyond the first two numbers, then, which I consider to be zero and one, one keeps counting. Other poems in the larger collection – not those here – deal with imaginary, transcendental, and other numbers which have names which have a psychospiritual charge by virtue not only of their names but also by their situations.
It is this sort of wild argument I believe it is a poet’s privilege to make. In these poems, I try to reveal – to allow the reader and myself to be always conscious of – the intrusion of prejudice, “fact,” habitual expression, etc.
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