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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>language</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>language</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Tuesday, February 03, 2015</span></h2>

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<a href="http://www.fluxmagazine.com/index.php/arts/the-dark-would-exhibition/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Dark</span></a>
<a href="http://www.fluxmagazine.com/index.php/arts/the-dark-would/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Would</span></a><br />
</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 300%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">in <a href="http://www.heraldscotland.com/arts-ents/visual/the-dark-would-summerhall-edinburgh.1386388807"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Edinburgh</span></a></span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 12.0pt; line-height: 300%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"></span></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/01/14_3.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-01-03T00:00:00-05:00'>Friday, January 03, 2014</abbr></a>
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<h2 class='date-header'><span>Wednesday, February 27, 2013</span></h2>

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<b><span style="font-family: Arial, sans-serif; font-size: 16pt; line-height: 150%;"><a href="http://psych.stanford.edu/~lera/"><span style="color: black; mso-themecolor: text1;">Lera</span></a> <a href="http://en.wikipedia.org/wiki/Lera_Boroditsky"><span style="color: black; mso-themecolor: text1;">Boroditsky</span></a></span></b><span style="font-family: Arial, sans-serif; font-size: 14pt; line-height: 150%;">:</span><span style="font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 14.0pt; line-height: 150%;"><br />
How the languages we speak<br />
<span style="color: red;"><a href="http://blip.tv/play/hvFkgsvYSAA.html"><span style="color: red;">shape the way we think</span></a></span><i><br />
</i></span><i><span style="font-family: Arial, sans-serif; font-size: 8pt; line-height: 150%;">(right click <br />
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<h2 class='date-header'><span>Saturday, February 16, 2013</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:14.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.swarthmore.edu/SocSci/dharris2/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>K David Harrison</span></a><br> on<br> <a href="http://www.poptech.org/popcasts/k_david_harrison__poptech_2008"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Revitalizing Linguistic Diversity</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, June 26, 2012</span></h2>

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<p class="MsoNormal"><span style="font-size:10.0pt;line-height:115%;font-family: &quot;Arial&quot;,&quot;sans-serif&quot;">An international poetry festival is a little like one of those lab experiments that science students are forced to perform. Take a creature that does one thing well &#8211; make art with their language &#8211; and put them into a container with other creatures who seem similar enough, but lack that one key common element &#8211; a mutual language. The possibilities are more or less obvious, and the folks in Rotterdam earlier this month were blessed with the fact that all 19 of their on-site participants&#185; were actually nice people. One of the festival officials joked that this was an &#8220;innovation&#8221; they were trying this year, and that it had not always been the case in prior years. <o:p></o:p></span></p>  <p class="MsoNormal"><span style="font-size:10.0pt;line-height:115%;font-family: &quot;Arial&quot;,&quot;sans-serif&quot;">It&#8217;s not an accurate statement that the poets lacked the same language. Eighteen of the 19 spoke at least some version of English, and four of us &#8211; Karen Solie of Canada, LK Holt of Australia, Sascha Aurora Akhtar of Pakistan &amp;amp Britain, &amp; I &#8211; use variants of it for our writing. With language, of course, history comes encrusted. <span class="GramE">When <span class="SpellE">Moosejaw</span>-born Karen Solie lists manufacturers of tractors in her work, US companies like John Deere turn up.</span> And I heard Australian Lucy Holt asked on at least one occasion if she was British<o:p></o:p></span></p> 
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<h2 class='date-header'><span>Sunday, July 10, 2011</span></h2>

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<p class=MsoPlainText align=center style='margin-bottom:10.0pt;text-align:center'><object height="326" width="446"><param name="movie" value="//video.ted.com/assets/player/swf/EmbedPlayer.swf"></param><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always"/><param name="wmode" value="transparent"></param><param name="bgColor" value="#ffffff"></param> <param name="flashvars" value="vu=http://video.ted.com/talk/stream/2011/Blank/RajeshRao_2011-320k.mp4&su=http://images.ted.com/images/ted/tedindex/embed-posters/RajeshRao-2011.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=1180&lang=&introDuration=15330&adDuration=4000&postAdDuration=830&adKeys=talk=rajesh_rao_computing_a_rosetta_stone_for_the_indus_scri;year=2011;theme=tales_of_invention;theme=new_on_ted_com;theme=a_taste_of_ted2011;theme=technology_history_and_destiny;event=TED2011;tag=Science;tag=computers;tag=history;tag=language;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;" /><embed src="//video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgcolor="#ffffff" width="446" height="326" allowfullscreen="true" allowscriptaccess="always" flashvars="vu=http://video.ted.com/talk/stream/2011/Blank/RajeshRao_2011-320k.mp4&amp;su=http://images.ted.com/images/ted/tedindex/embed-posters/RajeshRao-2011.embed_thumbnail.jpg&amp;vw=432&amp;vh=240&amp;ap=0&amp;ti=1180&amp;lang=&amp;introDuration=15330&amp;adDuration=4000&amp;postAdDuration=830&amp;adKeys=talk=rajesh_rao_computing_a_rosetta_stone_for_the_indus_scri;year=2011;theme=tales_of_invention;theme=new_on_ted_com;theme=a_taste_of_ted2011;theme=technology_history_and_destiny;event=TED2011;tag=Science;tag=computers;tag=history;tag=language;"></embed></object></p>
<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center;mso-outline-level:1'><b><span style='font-size:18.0pt; line-height:115%;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family: Arial;color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"; mso-font-kerning:18.0pt'><a href="http://www.cs.washington.edu/homes/rao/"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Rajesh <span class=SpellE>Rao</span></span></a>: <br> A <a href="http://www.cs.washington.edu/homes/rao/ieeeIndus.pdf"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Rosetta <span class=GramE>Stone</span></span></a> for the <a href="http://en.wikipedia.org/wiki/Indus"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Indus</span></a> <a href="http://www.cs.washington.edu/homes/rao/indus.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Script</span></a><o:p></o:p></span></b></p>
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<h2 class='date-header'><span>Wednesday, December 08, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://sfs.scnu.edu.cn/halliday/show.aspx?id=67&amp;cid=101"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Michael</span></a> A.K. <a href="http://en.wikipedia.org/wiki/Michael_Halliday"><span class=SpellE><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Halliday</span></span></a> on the <a href="http://language.la.psu.edu/aplng597a/halliday_intro.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>history</span></a> of <a href="http://www.isfla.org/Systemics/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>language</span></a><o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, June 10, 2005</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><img height="244" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/jmgXzCOpJgKhChiVCyoDaCpH42_wxJH-MzJ3W9EPP_I9ncAQ3gUiwI2FtMB2KYcnA3165k6FlZ6ESI31g0CjStA8NsRPltnzVwxv6R3aIXnF63Rufnf5BdYdv-PaHqdlZgFHNw%3Ds0-d" width="266"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Roman Jakobson characterized language as having six distinct functions. In fact, the functions form three sets of pairs. Modified very slightly to employ terms readily understood by an audience of poets, these would be: <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in;mso-list:l1 level1 lfo2;tab-stops:list .75in'><!--[if !supportLists]--><span style='font-size:15.0pt;font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:red'><span style='mso-list:Ignore'>&#183;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></span></span><!--[endif]--><span style='font-size:10.0pt;font-family:Arial;color:black'>addresser and addressee<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in;mso-list:l1 level1 lfo2;tab-stops:list .75in'><!--[if !supportLists]--><span style='font-size:15.0pt;font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:red'><span style='mso-list:Ignore'>&#183;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></span></span><!--[endif]--><span style='font-size:10.0pt;font-family:Arial;color:black'>contact and code<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in;mso-list:l1 level1 lfo2;tab-stops:list .75in'><!--[if !supportLists]--><span style='font-size:15.0pt;font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:Symbol;color:red'><span style='mso-list:Ignore'>&#183;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></span></span><!--[endif]--><span style='font-size:10.0pt;font-family:Arial;color:black'>signifier and signified<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Addresser and addressee are clear enough, as are, I hope, signifier and signified. Contact is that element of psychic interaction between <span class=GramE>source</span> &amp; recipient that makes communication possible in the first place. Code is the abstract structure of language itself. In the nearly 30 years since I first encountered <span class=SpellE>Jakobson&#8217;s</span> Six Functions, thesis, I have <i style='mso-bidi-font-style:normal'>never </i>come across a speech act, an instance of language that could not be referred to as foregrounding at least one of these. <span class=GramE>Even an incoherent shout &#8211; <i style='mso-bidi-font-style:normal'>WHA?</i></span> &#8211; stresses the role of contact, without which (even in an empty room, or an empty forest) there would be no impulse to shout.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Every utterance or act of language, according to Jakobson, foregrounds one of these six functions, de-emphasizing the others to various degrees. In fact, one might note that whichever of the six functions is foregrounded, its &#8220;pair&#8221; invariably will be the one most muted. In this regard, one can make a common visual analogy to a simple playing die, another six-sided figure always organized by pairs (in its case, the numbers on the  opposite sides always add up to seven, so that when the &#8220;6&#8221; is up, the &#8220;1&#8221; is down, when the &#8220;5&#8221; is up, the 2 is down, etc.). <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Jakobson has a term for those works that foreground the signifier &#8211; &#8220;the poetic function.&#8221; And it is certainly true that from Homer to Bob Grenier, works of poetry have called attention to the presence of the signifier &#8211; the sound of phonemes, the materiality of the graphic text, etc. &#8211; as have no other genre of literature. Visual poetry &amp; sound poetry function largely, although not necessarily exclusively, on this plane. But, Jakobson would argue, the same is true also for any of the Boston Brahmins &#8211; Cal Lowell or Anne Sexton, say &#8211; or any poet of whom William Logan or Billy Collins might approve. They  complicate matters perhaps, placing a secondary emphasis on the signified, the referential world discussed by their poet, just as a composer of dramatic monologues &#8211; Robert Browning or Richard Howard &#8211; puts a secondary emphasis on the addresser. Michael McClure&#8217;s <i style='mso-bidi-font-style:normal'>Ghost <span class=SpellE>Tantras</span> </i>&#8211; with their invented &#8220;lion language&#8221;&#185; &#8211; <i style='mso-bidi-font-style:normal'>GRAHHHRRRR</i> &#8211; foregrounds contact, implying that it need not be restricted to <i style='mso-bidi-font-style:normal'>human </i>contact. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Historically, Jakobson systematized Saussure&#8217;s conceptualization of linguistics, giving birth to structural linguistics and setting the ground that Chomsky (and later the post-<span class=SpellE>Chomskians</span>) would all build upon. Jakobson had an unusual &#8211; even ironic &#8211; role with regard to poetry &amp; the intellectual history of the 20<sup>th</sup> century, having begun in fact as a poet &amp; critic around the Russian Futurists &amp; formalists during the period of the Russian Revolution, an acquaintance of Mayakovsky &amp; Shklovsky, Brik &amp; <span class=SpellE>Kruchenykh</span>. One can see the formalist influence in <i style='mso-bidi-font-style:normal'>how </i>Jakobson understood Saussure. Jakobson escaped Stalinism by moving west to head up the Prague School of Linguistics, where one of his students, René Wellek, would later surface in the </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> to co-author several of the classic texts of New Criticism, carrying forward the diamond nugget of close reading in a muddy elixir of cultural conservatism. Jacobson himself escaped the Nazis, decamping to the </span><st1:place><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>New</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York City</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> where he spent the Second World War. One of the students at his series of talks later published as <i style='mso-bidi-font-style:normal'>Six Lectures on Sound and Meaning </i>was a young French sociologist by the name of Claude Levi-Strauss, stranded in  </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> after fieldwork in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Brazil</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. Levi-Strauss would later credit Jakobson with creating the &#8220;Aha&#8221; experience that led him to organize mythic systems as if they were languages, thereby setting off the theoretical tendency that came to be known as structuralism. By the time that structuralism was morphing in France into post-structuralism, Jakobson had moved on to MIT, where a math major by the name of George Lakoff decided to take a course on poetry &amp; poetics only to discover that it was being taught by this strange Russian. Lakoff changed his major to linguistics as a result. His work on cognitive linguistics is today the dominant model in that profession, yet it is not unrelated to the same experiments in poetry that 90 years ago lead to phenomena such as <i style='mso-bidi-font-style:normal'>zaum, </i>the &#8220;tran-sense&#8221; linguistic avant-garde extremism that was one off-shoot of Futurism. History is funny that way.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>All of which is a roundabout preface to note that, on Monday, when I discussed how one might read the poetry of Clark Coolidge &#8211; especially work from the early 1970s pieces &#8211; <b style='mso-bidi-font-weight:normal'>I never suggested that Coolidge&#8217;s poetry was meaningless. </b>Quite the opposite is true. The excerpts chosen from <i style='mso-bidi-font-style:normal'>The Maintains</i> may foreground sound &#8211; that old &#8220;poetic function&#8221; of the signifier once again &#8211; but the words chosen are not without their schematic frames, literally <i style='mso-bidi-font-style:normal'>their meaning. </i>That these don&#8217;t lead to a vulgar figured narrative at the level of the signified does not suggest that these lines are meaningless, only that that function of language was most evidently effaced &#8211; a predictable result in any work that foregrounds the opposite side of the signifier/signified coin. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Further, the frames (or &#8220;meanings&#8221; if you must) around individual words, such as <o:p></o:p></span></p>
 
<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'>laurel ratio sharp or hard<br>
instrumental triple to or fro<br>
granule in award<br>
<br>
one to whom is made<br>
<br>
nave<br>
bean<br>
shin<br>
spectacle<br>
as the near wheel</span> <span style='font-size:10.0pt;font-family:Arial;color:black'><span style='mso-spacerun:yes'> </span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>stay, for the most part, close to the word itself, while the sound pattern of the passage is heavily defined by the highly syncopated sense of the line. So you have referential meaning fixating at one level, while the sonic structure resolves on a whole other level. <span class=GramE>Which becomes, I would argue, completely visible here precisely when Coolidge unfurls lines that are clearly clauses from larger stretches of grammar &#8211; <i style='mso-bidi-font-style:normal'>one to whom is made </i>or <i style='mso-bidi-font-style:normal'>as the near wheel </i>&#8211; instances where that &#8220;close-to-the-word&#8221; feel of language from the other lines suddenly pulls back into these larger structures.</span> <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>None of which is apt to be terribly perceptible or interesting if you define meaning solely as that which exists along the axis of the signified. There is nothing wrong with the signified, mind you, but it has been so heavily exploited for <span class=GramE>centuries that a kind of aphasia has crept in that confuses</span> it with the linguistic structures that enact that diorama of an implied universe. One of the advantages of language poetry, at least for a time, was that it noticed &#8211; and made perceptible to others &#8211; that the five remaining functions of language were also <i style='mso-bidi-font-style:normal'>always already </i>present &amp; variously active whenever language was being used. Indeed, I would go so far as to argue that people who presume meaning exists solely on the axis of the signified miss literally 5/6ths of everything they read. This is a condition much more devastating than color blindness, for even the profoundly color-blind can tell the difference between dark &amp; light. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In the title essay of his first great book of critical writing, <i style='mso-bidi-font-style:normal'>Total Syntax, </i>Barrett Watten performs an extended analysis of the work of Clark Coolidge, centering <span class=GramE>around</span> the period in which <i style='mso-bidi-font-style:normal'>The Maintains </i>&amp; <i style='mso-bidi-font-style:normal'>Polaroid </i>were written. It is worth revisiting that book, especially pages 88 through 106, to see all the ways Watten demonstrates reference &amp; meaning active in the work. Even in just the passages &amp; material I&#8217;ve posted this week, we need to ask ourselves, for example, about the context of titles. <i style='mso-bidi-font-style:normal'>The Maintains, </i>for example, carries implications in a variety of manners. Some of these include<o:p></o:p></span></p>

<ul style='margin-top:0in' type=disc>
 <li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;      tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an allusion to music, where it is the drummer (Coolidge&#8217;s instrument) who maintains the beat<o:p></o:p></span></li>
 <li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;     tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an allusion to the dictionary, a primary source for this project, which maintains all possible meanings right there in alphabetical order<o:p></o:p></span></li>
 <li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;      tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an echo of any noun that ends on <i style='mso-bidi-font-style:normal'>&#8211;<span      class=SpellE>ains</span> </i>&#8211; the one I always hear is <i      style='mso-bidi-font-style:normal'>The Plantains, </i>but I&#8217;m a self-confessed banana junky<o:p></o:p></span></li>
 <li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;     tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an inference as to what becomes of language when words are pulled up from their contexts &#8211; <i style='mso-bidi-font-style:normal'>The Remains </i><o:p></o:p></span></li>
 <li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;
     tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an      ironic reference to the question of development in a literary work, since this one will develop through the gradual elimination of words with clear referential schema, to the zero degree writing of the work&#8217;s end, in which language is carved down to a series of positions &amp; connectors<o:p></o:p></span></li> 
<li class=MsoNormal style='color:black;margin-bottom:12.0pt;mso-list:l0 level1 lfo3;tab-stops:list .5in'><span style='font-size:10.0pt;font-family:Arial'>an      evocation of every work entitled with that static noun phrase <i      style='mso-bidi-font-style:normal'>The X</i>, in which X is invariably plural &#8211; these could be surnames, place names, nouns, etc. <o:p></o:p></span></li>
</ul>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>That Coolidge doesn&#8217;t restrict himself to just one or two of these six --<span style='mso-spacerun:yes'>  </span>there may well be others I&#8217;m not thinking of at this late hour &#8211; active levels of meaning is an aesthetic stance, having as much to do with jazz and painting (Watten is brilliant on this) as it does the history of poetry. And one could proceed through virtually every phrase, every line of this book &amp; see at least this much going on. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>To see it as chaotic, or trivial, even as a &#8220;psychedelic word salad&#8221; as one famous review of an earlier Coolidge book once characterized his style, is to fail to understand that each word here is as thoroughly determined not only with regard to its kind but also to its depths of allusion &amp; meaning as any sentence or phrase from <i style='mso-bidi-font-style:normal'>War and Peace</i>. That they don&#8217;t proceed in a unilateral stance toward the signified is, at least in Coolidge&#8217;s case, what makes this possible.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But to suggest that this work is without meaning, or is &#8220;only sound,&#8221; is to envision a language <span class=GramE>so</span> one-dimensional as to be without depth or detail. This is why I find works that only operate with a fixed relationship to a referential universe, while ignoring all the other functions of language, pallid &amp; lacking in imagination. And why the idea that writing is &#8220;only words&#8221; is as appalling as the  idea that painting is &#8220;only sight.&#8221; If all you see when you look at Clark Coolidge is &#8220;only words,&#8221; you haven&#8217;t begun to read. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;
font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Michael might disagree about that word <i style='mso-bidi-font-style:normal'>invented. </i>He used to have his students at the California Arts and Crafts head off to the zoo to scan lion roars &amp; perform an analysis of the meters employed. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, October 15, 2002</span></h2>

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<span style="font-family: Arial;">I&#8217;m going to </span><st1:state><st1:place><span style="font-family: Arial;">New York</span></st1:place></st1:state><span style="font-family: Arial;"> for a few days for the <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2382360025">readings</a>
to launch the <i style="mso-bidi-font-style: normal;"><a href="http://www.rattapallax.com/fusion.htm">Short Fuse</a></i> anthology &amp;
won&#8217;t be taking my laptop. Since my Palm Pilot isn&#8217;t web-enabled, the blog
shall be silent until Friday at least.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Two of the books I shall be
taking with me will be <i style="mso-bidi-font-style: normal;">Your Ancient See
Through</i> by Hoa Nguyen and <i style="mso-bidi-font-style: normal;">Clean and
Well Lit</i> by </span><st1:personname><span style="font-family: Arial;">Tom
 Raworth</span></st1:personname>.<span style="font-family: Arial;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">In the meantime, </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> readers should participate in the <a href="http://www.hcs.harvard.edu/~golder/dialect/index.html">Dialect Survey</a>.
It consists of 122 questions concerning vocabulary, pronunciation and usage,
every one of which is worth pondering. I am of course reminded of the
linguistic geography of the </span><st1:country-region><st1:place><span style="font-family: Arial;">United States</span></st1:place></st1:country-region><span style="font-family: Arial;"> that Jack Spicer worked on some 40 years ago. This
survey, I suspect, is a descendant of that research. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Contemplating for a moment
Question 103 &#8211;<o:p></o:p></span></div>
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<br /></div>
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<b>103. What do you call the thing from
which you might drink water in a school?</b><br />
a) <input name="q103" type="radio" value="1" />bubbler<br />
b) <input name="q103" type="radio" value="2" />water bubbler<br />
c) <input checked="" name="q103" type="radio" value="3" />drinking fountain<br />
d) <input name="q103" type="radio" value="4" />water fountain<br />
e) <input name="q103" type="radio" value="5" /><span style="display: none; mso-hide: all;"><input name="q103-other-choice" type="hidden" value="5" /></span>other:
<input name="q103-other" type="TEXT" /><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp;</span><span style="font-family: Arial;">&#8211;</span></div>
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<span style="font-family: Arial;">I&#8217;m reminded that Rochelle
Nameroff identifies &#8220;bubbler&#8221; as an aspect of the language of her native city, </span><st1:city><st1:place><span style="font-family: Arial;">Milwaukee</span></st1:place></st1:city><span style="font-family: Arial;">. It is, as she likes to put it, &#8220;&#8217;M'waukee talk.&#8221;<o:p></o:p></span></div>
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<span style="font-family: Arial;">Which, in turn, leads me to <a href="http://www.avbc.com/visit/boontling.html">Boontling</a>, the most radical
of regional American dialects. Boontling, short for Boont lingo, Boont standing
for Boonville, a town in the Anderson Valley of Northern California, roughly
two-thirds of the distance north from San Francisco on the way to Mendocino.
Quite isolated in the 19<sup>th</sup> century, the teenagers in Boonville,
Philo and Anderson developed a code some time around 1890 that enabled them to
talk salaciously in the general vicinity of the elders without invoking
censorship or retribution. But of course the teenagers all became adults and in
that region during that period, relatively few of them left for the wide world
and just as few newcomers moved into the community, so by, say, World War I,
boontling had become the daily discursive mode of the region. Boontling held
reasonably contained and coherent until after the Second World War when first
radio and then television finally reached the valley. Now the only speakers
left apparently are adults who learned it from their grandparents. Sometimes
you will see a Boontling speaker at a folk festival, telling a familiar tale in
that all but impenetrable variation of English. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">It&#8217;s been years since I&#8217;ve
been to Boonville, but even in the 1980s, pay telephone booths were labeled
Buck Walter (literally: <i style="mso-bidi-font-style: normal;">nickel phone</i>).
Charles Adams wrote a most useful volume, <i style="mso-bidi-font-style: normal;">Boontling:
An American Lingo, with a dictionary of Boontling</i> that the </span><st1:place><st1:placetype><span style="font-family: Arial;">University</span></st1:placetype><span style="font-family: Arial;"> of </span><st1:placename><span style="font-family: Arial;">Texas</span></st1:placename></st1:place><span style="font-family: Arial;">
press published in 1971. The dictionary alone is over 100 pages long. Copies
can be found through <a href="http://www.abebooks.com/">abebooks.com</a>,
though the hardback prices strike me as a little pricey. Most of the websites on
the topic are pretty limited. The one link I gave above comes from a regional
brewery site, but it&#8217;s the best short introduction I&#8217;ve encountered. <o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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