BREVITY AND THE REVOLUTION

     As a rule I don't normally borrow combinations of terms, unless I am trying to randomly incorporate what I have heard from the radio (that's how Zenetic Poetry formed into Boom Poetics), but the term "sequin mines" was adapted from a punchline from a joke by SNL weekend update correspondent Dennis Miller, where he made some crack I believe about his parents working in the sequin mines.  Sometimes I make obscure personal reference and not everything is codified, some of it is just "Interconscious time based" codification, that might relate to something someone spontaneous someone just experienced or it may resonate aesthetically for other reasons.  I call it PULSE poetry, I believe it's what Jazz is to the poetic tradition, a sort of musicality without notes, as emphasized in the lyrical potential of '"intentional/stochastic" language (in some cases the multiple meanings of the work are like instruments layering meaning, and it's a lot of fun to create).  Sometimes I misspell words to give a sense of it's root meaning, or just to be different IE psyonic instead of psionic, this is how language modulates itself and it creates semantic shift that is very interesting.  Language is use and use is spontaneously explored in Pulse.  There are no mistakes in pulse, just ever more successful ways of applying your intentions to tracing out the context of your emerging mastery.

      The discipline I have created is able to process large amounts of data critically spontaneously, so in effect I owe my many teachers all the way public school and into University for their patience in helping students to follow along complex ideas with some creative variation.  I seek however to maximize the creative variation, even with the understanding that the narrative says nothing.  I was noticing many search for gimmicks in BOOM poetics that sought to create narrative using connecting terms like "OF THE" a lot, or and connecting terms, so the styles of pulse have changed quite a bit, as I have become more adept at randomizing my internal lexicon so to speak.  I notice a bias of terms in the writing, which can be a bit frustrating, but poetry is often not read as a whole book, so people won't get into the bias so much.  IE when I learned the term Aolian, I must have used it twenty five times in four months.  Some words I just learn to love.  I definitely have a love of the spoken language...but I am first and foremost a painter that developed allergies to everything, and who is only just getting back into painting as soon as I can get over the fear of more break outs of hives, thousands of them all over my body, a feeling like my skin is on fire.  I suffered immensely and out of depression of sorts did not even draw, I was forced into a sort of dissociation with what I loved into something I had always done since I was sixteen was write poetry.  Poetry saved me from creative block. Like sport Poetry is like basketball or soccer, no need for all of those supplies like in painting, or film making, you just need a pen.  As pulse grew out of random performance pieces to my Higher power as my father was dying, a sort of coping mechanism, I showed you don't even need a pen to be a poet, you just need an active mind, you can do it anywhere, you can always be a creative and no one can stop you from expressing yourself.

     I owe my becoming an artist to my late father Tilemachus Theodoropoulos who allowed for me to study art in school, that's a portrait of him in the image provided, he was a hard working man, and a wonderful role model on balance and I love him very much. My writing of poetry and a discipline I call Friction, went from 18 hours a day, to three to five hours a day to a study period I am in now which I spend about ten hours a day studying memes and ideas others provide on Facebook groups, as I collect my responses and aphoristic expressions into book form.  I don't throw any writing out, and good or bad it's the final product.  I hence wrote over one hundred books in one year writing three hours a day.  Zenetic poetry saved me from utter despair, and boredom, it is a need that causes me to express myself, it is not solely something I want and I have a need to express myself non-linearly too, I don't want to be deadened by people's interpretation, I want my creations to have life to have that pulse of a living thing, to be in essence alive.  As a hylozoist it's a spiritual progression that brings me to this method.

    Zenetic poetry was the first phase in it and I often make up words in that phase, but that permeates the whole genre of Pulse poetry which includes what I call BOOM poetics (please see my comment on my wall).  It's like looking at language under the lens of multiplicity, possibility, perplexia, association, and conflation of meanings to create narrative probability as the work teases one out of a sense that these are just words (Something achieved by Zenetics), to the fact that these are moreso a kind of language applied to a set of meanings.  I am glad you enjoyed it. I too hope it will be studied in schools to help extend student diction.  I spent much time with a dictionary and I could spend a lifetime learning.  The discipline hinges on the potentially temporary obscurity of language, it's excitement and its possible conclusions, and it's deferred mode of arriving at singular sets of meanings.

     I consider the work a resistance to the medusal principle of language's formalism, which fixes rigid meanings in place, and that is based on the notion that the author necessarily is the prime constructor of meaning.  I was influenced by Roland Barthes' essay "The Death of The Author", though I in many ways naturally resist his conclusions, because I believe the author has everything to do with creating the initial form that contains syntactical (or rather new word Psytactical meaning intended by wrestling with random forces) intention. In my versions of language construction, however, the author cannot simply be the true final word, on meaning construction, though they in language formalize procedure they don't synchronize all expressions of a variation's themes.  As a writer I arrange the poetic convention, I do not convey the final set of meanings necessarily.  It brings that sense of a child playing with language to arrive at many ways to see something, and delight in the ability of personal agency to direct the mind to an intentional variety even in the act of interpreting the work IE it's I hope if I am successful not simply intentional variety created in the construction of the work but in the reception of the work as well that dictates my success as a poet at this phase of the writing.  It may evolve into something completely intentional, I have no clue where the mood and atmosphere go, it's essentially writing on those emergent elements as much as possible.   Thanks again Larry Ran, for your participation with my poetic expressions, writing's purpose is community.

As everyone knows the Germans have a wonderful work ethic, this has conditioned indirectly and directly how I go about my work. On the references to German culture in the poem, if my father did not get work in Germany, I would never have been born as he made enough money to move to Canada, and eventually bring my mother from Greece they did very well in business. My father died in August of 2011, he is dearly missed.  I can trace my birth back to an earth quake, if my father did not get work to go to Germany from rebuilding houses I would never have been born, I owe my existence to the random character and creativity of Nature, hence PULSE poetry!