Poem -

ESSENCES INDEED

ESSENCES INDEED

Calm hurricanes,

a chemistry etching nuance...

bewilderment in the sacrament of attractions,

balanced with repulsive forces.

In the combining force of perception,

the fact that storms persist

reminds us that there are oblitterations of devices,

divisive in their combinatory complexity.

Sending our science into the furthest orbit,

never proximal to cause alone,

is the culmination of discovery.

With this investment in the divestorial realities,

we cascade from remnant to revilement

and take our role in the gales of winds.

The rainfall,

and severe clouds

taunting still waters,

to rise and fall.

formed of persistent charactericity.

Seen from space,

the remnants,

made but a spec of conditional ferocity,

an atom,

a place in the catacombs of expression.

In the velvet azure that surrounds the grey fire,

adopting the firestorm of divined entropies,

and enterprises,

what emerges in the distillation of sentience is the sense

that the storm purifies.

Such an insignificant flickering...

making sentience cogent to the becoming

that fosters all essences indeed.

Poem and image © 2016 Peter Kaleb Theodoropoulos aka Rockwell Wilder

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Comments

author
Deborah Evans

Hi Peter I have tried to read and understand 
you poetry since you have been posting i have 
tried to understand your comments explaining 
your poems too, you have a huge knowledge of words  and their meanings
and  vocabulary  Sadly for the ordinary "Joe Bloggs"
such as myself i would be mostly googling the meanings 
of your words and it would take all day to interpret 
one of your writes, to really know what you are trying to get 
across to the reader,that is my short coming not your`s i may add
I admire erudition in people i absolutely love 
words and their meaning but i am by no means in your calibre .
However this poem i more or less understood of the storm its 
dangers and after the storm a purification and i  liked
these lines they are  quite beautiful 

"a place in the catacombs of expression.

In the velvet azure that surrounds the grey fire,

adopting the firestorm of divined entropies,

and enterprises,"

I hope you will not  take offence at my explanation 
i know i could have just said nothing at all, but i would like 
to understand your words and meanings and i will continue 
to read you  Best wishes Debs  

 

Reply
author
Rockwell Wilder

This is narrative Pulse, this is what pulse can evolve into, but it's not my focus at present.  Pulse poetry is just writing scripted by the charactericity or creative potential expressions of language...not bound by meaning conventions in the sense of being a system of linear associations.  Abstract and non linear Pulse stimulates readership into a role that is not necessarily unconventional in some aspects, but which is definitely unconventional in approach in construction and in the designing of hierarchies of aspects into a sort of centrifuge of non-normal functions. 

Pulse influences us into picking out combinantions of terms that resonante or fail to resonante in creating narrative remnants or narratological elements that are accidental or incidental to aspects of our lives that are synchronious with something nascent in our experience. Pulse is not simply some kind of a cleverness at using hifalutin terms as unsystematically related Jargon alone, but rather is a device for analyzing the demands and frustrations against the demands of making custom functional.  We may be experiencing or prone to interpreting a means of associating a certain way due to a bias we have, which is implicit in our training WITH language as a system that corresponds to reality, as a set of role expectations.  In the normative translations of on balance interpretive standards that facilitate the difference between mere utterance and relayance of meaning, is bias as a necessary aspect of cultural form and Pulse reminds us that poetry is a cultural form by decomposing structural narrative, as opposed to the material elements of language alone which are structural as say E.E. Cummings did.  

I am as much influenced by Children who make up random associations to describe a way of seeing something as I am in forming a convention for adults to rely on more than their senses alone when composing meaning, but to pay attention to the extemporaneous dimension of chance and intention that shapes language into a cultural tool designed to shape tools.  Pulse is a LANGUAGE GAME in the Wittgensteinian sense of the term...as something involved in relaying and receiving a given system of intentional cohesion into functional analogs of a relay set.  I however, divide the system of signs into associative and dissociative classes that upset the functional repertoire of the application of linear functions.  I turn in other words aesthetics into something that is not purposive, but is an element of nature, just something present that we can see as not some slave to truth, but rather is a source of functions that give rise to truth, by pointing out the systems at play in creating meaning by subverting the process.  Pulse is in this sense somewhat esoteric. Pulse brings to mind what our attention is doing as it scans a set of associations for networks of interelated aspects that convey a relation to our own lives, all art in this respect is somewhat self-referencially vast, and self reverencially a search for novelty and meaning that has a profound influence on our way of constructing meaning out of randomness itself, merged with the role of association. 

IN some sense and in virtue of this Pulse has a fundamentally oracular character with oracular elements...but it's not the convention of Oracularity that is being explored or expressed. It is newness and novelty and enpuzzlement at the level of a Koan, dynamicity at the level of Jazz, musicality without notes, structure without form...merging the non-linearity of with a sort of Rorschach test of random association, to create a sense of language as dross...and in the dross are the kernels of ideas.   the diamonds that few can see...but let's look at the industry of making a diamond from a rough lucid element of language, obscured in form and structure. I mean to point out that something is done to language in the alchemy of the mind, and that notincing the epifunction of utilizing a language is what my process or method colludes with in order to create an emphasis of the role of cognition in ADOPTING language. It's an art that I am creating that is new to poetry and is in effect it's own genre.  It's not mindless wordplay.

PKT

Reply
author
Deborah Evans

Hi Peter Thank you for your message back 
So i understand now that Pulse poetry is a new concept
in poetry  that you are creating, Thank you for the 
explanation, I did not insinuate for one second it was 
mindless word play i would not be so rude,and i never thought that
As i said i love words and meanings, and when they are strung together 
they can make people feel the intent of a written work 
and i wanted to understand yours I am sorry if i offended 
you truly i am It was not what i intended
 best wishes Debs 

Reply
author
Rockwell Wilder

     I wasn't offended I try not to get offended at people's freedom to see something one way or another, though I do admit it often feels nice to get positive feedback once in a while, because it encourages a certain way of approaching one's own work. My intention is subliminal in many respects when writing, and uncovers carefully implicit potential cue-sets for me to interpret something in a given way as much as the audience experiences a vital quotient in the cues they respond to IF ANY.  

     I believe that PULSE which emerged from BOOM Poetics, and their foundation in just generating random words (Zenetics) all have narrative elements, and like BEAT poetry there is a rhythm and a flow I am pursuing but my desire is to make this angular textured and of an intentional tectonic more and more, regardless of the flow in ways that may upset some people's expectations in an evolution of a style being necessarily derivative.  PULSE's primary tradition is that it breaks off with most traditions, and has form without structure.  This is why I call it music without notes...structure without structure.  It's closest analog is Jazz, but even that is a systematic way of comprising exploration, and PULSE poetry is anti-system, without being an aesthetic anarchy of sorts.  Please note that Pulse, BOOM Poetics and Zenetics emerged from my doing philosophy in efforts to uncover the systematicity of non- linear thinking, and abstraction that is pre-mentative, and all of these disciplines fall under the rubric of PULSE poetry. 

  There's as much mystery in the writing process as there is in the reading of the writing and in the assessing of potential multiplicity in the wording. I realize that it can be frustrating, but my intention is not to create an audience or pander to an audience likes in my thinking this just creates something derivative, and while all culture is derivative, this is an element of language that is enunciation and utterance without the conscription of necessary specificity.   The opportunity for words to evolve words fascinates me.  The notion of words as thought machines is very inspiring to me.  My poems are like the machine that self destructs...the machine who's function it is to turn itself off immediately after it has been put in the on state...a question of function emerges, and permanence and meditations on Cetegoronics may emerge, which are categories which defy linear association with one category or another.  Hermaphrodite is an example of a cetegoron, maybe is an example of a cetegron, in the first case it's neither and both male and female, and in the later it's neither and either of yes or no in contingent causal unfolding in the context of pertinent aspectual variation affecting the perception of one's agency, affecting the agency of one's options. 

     Categories that embrace nuance which qualifies and disqualifies something as being categorically comprehensive is interesting to me, and birthed my notion of Cetegoronics, that in effect emerged from notions of Paradigmatic and Syntagmatic ways of seeing (That I use in specific ways with the notion of how a way of seeing or a paradigm, emerges from the collection of knowledge *The Syntagmatic category, that permeates into new ways to define the aspects of the paradigm creating a paradigm shift). Much is to be gained by Cetegoronic meditation, reflection on the inability of knowledge to fall into confirmable relations, giving rise to new relations and new conditions for knowledge with many impacts socially, politically and economically in how we envision new ways of seeing the world, using new necessary paradigms.

     To give a sense of what I mean by social impacts on ways of seeing the world, worlds of 100 Billion require different skills in organization, and new technologies create new opportunities...development like life extension, will be only for the wealthy and gifted as the poor will not be able to afford it.  Overpopulation will give rise to new social circumstances. PULSE anticipating this perhaps is a language of dissociation, shock and awe at the reality implicit to new necessary ways of seeing, and new moral encodement that by our standards may seem barbaric.  PULSE will require a habit of having systemic new ways of seeing something completely differently within the purview of challenges to certain entrenched ways of seeing. 

      I expect some opposition to my method.  I don't worry about it too much, though I expect people to say it's not real poetry, it's word salad, and to that I say...salad is healthy...LOL.  In my mind, my poetry vs conventional poetry...it's like the difference between a mechanic's role and a driver, but I seek to be both, but I am certainly an interesting mechanic of language, and my creations, in the word machine vernacularity I create, gives people a new affirmation of their control of meaning in their own system of language.  It takes what was invisible in one's thinking process and makes it transparent or opaque to detection, and in this way creates new linguistic possibilities for people as they develop a sense of language's potential uses.  I believe that PULSE can reprogram the mind for creative potential and that it has implications for AI, one of my first PULSE books, POETRY FOR ROBOTS affirms this my poetry has the quality of being created by word generators, by machines for human bewilderment.  The randomization and extemporaneous treatment of the stochastic is the elements upon which PULSE systems of language development depend.  There are as many ways of doing pulse as there are people, and in effect we were all once pulse poets, we were all once children.  PULSE recreates and reinvents the childn's milieu of creating associations randomly with that sense of playing with language to create new effects in meaning construction.  There are no mistakes in PULSE, it's the most forgiving art...it's the art of discovering the many uses of language, even the non-functional and aesthetic uses of it. 

     An incidentality of sorts permeates PULSE, I make up words that one may figure out by association and sometimes cryptic words with etymological cohesion, sometimes with no cohesion.  PULSE is about the materiality of the phoneme and it's potential interstructure as created by polysylabic phonemical interweaving- the enchantment of language for it's own sake. It's all about just enjoying the process for me as a writer developing the method at this point, in that sense it's very selfish.  I hope it eventually translates to some ways of appealing to revealing collective dynamics of our systemic bias in order to form an integral bond to alternate ways of seeing within reality, and I hope that is pleasant for people.  What emerges is a kind of vernacular of perception, a sort of slanguage of language, that perpetuates the variety of ways of seeing that comprises integrity in new value formation and aesthetic appeal.  Thanks very much for your kind words, I appreciate the encouragement.

PKT

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