Concrete Poetry vs "Doing Internet"
Parade (1917) (ballet): Cocteau's, Satie's, and
Picasso's "theatrical experiment in interference patterns
among artistic media" (Daniel Albright)
Other Albright examples:
Cocteau-Les Six - The Wedding on the Eiffel Tower
(ballet)
Antheil-Leger, Ballet Mechanique (film)
Gertrude Stein-Virgil Thomson, Four Saints in Three Acts
(opera)
Poulenc-Apollinaire - The Breasts of Tiresias (opera)
Paysage (Landscape), Guillaume Apollinaire, 1917
Translation by Sandra Allan:
here is the house
where stars and divinities are born
this little tree about to drop fruit looks like you
a lit cigarette that smokes
lovers lying together you will separate my extremities
Augusto de Campos, Lygia, 1953
Marjorie
Perloff, Stanford U: This love poem juxtaposes the “red” title word with green, yellow,
blue, and purple
word groups to create a dense set of repetitions with
variations and contrasts. The need for translation is minor
here, since Augusto himself has invented a multilingual
poetics that oddly anticipates what is sometimes known in
poetry circles today as “The New Mongrelisme.” Lygia contains
English, Italian, German, and Latin words and phrases,
bristling with puns and double entendres. Thus finge (“feints” or “tricks”) in line
1 becomes finge/rs (line 2). Do Lygia’s fingers play
tricks? The third and fourth lines confirm this possibility
with the anagram digital and dedat
illa(grypho).
As Sergio Bessa has explained, in lines 3-4, Augusto
deconstructs the Portuguese verb datilografar (“typewriting”)
in order to insert his beloved’s name into the scene of
writing: grypho,
moreover, can be read both as ”glyph” and “griffin.” By the
time we reach line 5, Lygia has
morphed into a lynx, a feline
creature (felyna), but also a daughter figure (figlia),
who makes, in a shift from Italian to Latin, me felix (“me happy”). Note too that Lygia contains as paragram the suffix
-ly (repeated five times, twice
color coded so as to stand out from the word in which it is
embedded)—a suffix that functions as teaser here, given that
the adjective it modifies (happily? deceptively?
treacherously? generously?) is wholly indeterminate. The
German phrase so lange so
in line 8, puns on Solange Sohl, whose name Augusto, as he
tells it, had come across in a newspaper poem and had
celebrated as the ideal beloved in the Provençal manner ses
vezer (“without seeing her”) in his 1950 poem O Sol por
Natural. In line 10, the second syllable of Lygia morphs into Italian to give us
gia la
sera sorella—“already evening, sister,”
where sorella may be addressee or an epithet for sera, the
longed-for evening. The poem then concludes with the English
words so only lonely tt-
and then the solitary red letter l,
recapitulating the address to Lygia, but this time reduced to
the whisper or tap of tt- and a
single liquid sound.
Tom
Moody - criptocardiograma Remix
criptocardiograma
- original
credits for dump-found images, top to bottom: pecco (pair),
carjackcker (pair), maxlabor, unknown/seacrestcheadle (pair),
lolumad, unknown, doritowitch
*this page is a copy of notes originally posted at
http://www.digitalmediatree.com/tommoody/general/?55777