The thing about the reject is that sestinas are governed by the #6 (six). I think it's a fascinating structure. So the appearance of the 6 bars in the glitch inspired the whole thing (and the cyclical nature of a sestina). You picked up on that with your amazing intuition & subconscious perceptions. Traditional forms (think of the sonnet) are highly numerical, as is concrete poetry, hyper-numerical actually.
"Stoen 254: in this act contained" by Geof Huth (Newport, North Carolina, USA) (September 2024) Recent Object Poems by Geof Huth By De Villo Sloan In my previous New Concrete interview with visual poet Terri Witek, I provided a context by sharing my observations about what I believe to be the emergence of a new iteration of an age-old poetic practice: Object Poetry. The New Object poem is likely to be three-dimensional and is often composed of randomly found, inexpensive materials. Various art, literature and music movements grounded in Neo-Concretism have had a powerful influence on recent developments in this postavant genre. Members of Fluxus exchanged Object Poems via their mail art network. Most New Object poems are shared in an environment of digital poetics. "In the milieu of New Object Poetry, there is no mediating poetic text. Simply stated: The object IS the poem. Text might or might not be used." In the milieu of New Object Poetry, the
"The (Poetic) Formation Process of the 'J' apanese Arch 'i' pelago" by Takahiro Sawamura (Kyoto, Japan) (September 2024) "Problem" by Takahiro Sawamura (August 2024) "Space World" by Takahiro Sawamura (September 2024) "Connect One Text Extent To No Control" by Takahiro Sawamura (September 2024) "Elastic Poem" by Takahiro Sawamura (September 2024) "Ecosystem" by Takahiro Sawamura (August 2024)
My Villo!!
ReplyDeleteThe thing about the reject is that sestinas are governed by the #6 (six). I think it's a fascinating structure. So the appearance of the 6 bars in the glitch inspired the whole thing (and the cyclical nature of a sestina). You picked up on that with your amazing intuition & subconscious perceptions. Traditional forms (think of the sonnet) are highly numerical, as is concrete poetry, hyper-numerical actually.
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