IN THE ECHO OF NIGHT

Thank you, Linda.

~Rockwell

   Greetings Mark and others reading this, this is a rather long comment and I will include a variation of it in one of my poetry books.  I thank you for the opportunity to reflect on the general impressions and impacts of my form of Poetry, which I call PULSE poetry.  I believe it's a completely new branch of poetic form and it's being created by many poets at the same time.  I know it is a language of dissociation, without being dissociated, rather than encompassing thought and emotion, as if they are the only elements germane to our experience  there may be another dimension to fundamental being that is situationally trans-temporal and involves the decoding and encoding of novel intentions as a result of experiencing art. 

    I wrote about eighty poetry books in 2014, between fourty and fifty pages. I am just getting started out as a writer so I am very excited about the prospect of developing a new art forms and have begun FRICTION writing, which is a fusion of Method acting and writing, never breaking characters for months, or longer, and I have written a comic book using this form that I have written and which will be illustrated by Kevlen Goodner.  I worked about 15,000 hours on this Friction writing project and PULSE creation project over a span of three years Approximately 1100 days of meditation and creative production, in a meditation where I created the world's longest performance art piece for an audience of none but myself.  It was technically for God, if God does exist, a sort of dancing before God, a sort of rhyming spontaneously without ever recording for three years, (With few exceptions, which is where Pulse Poetry was born) for God, a sort of writing on ephemerality, which spawned many projects including my goal of forming HIVE museums oneday, which are buildings that are made completely of doors on the edifice, these Museums are part of a worldwide social network that showcase the same show around the world in real time, making it quite common to have shows of ten to twenty or more million people all within the same timeframe. This will be as great as the development of Newspaper's impacts on creative culture. I am seeking out people who will help me to forge a social network for artists worldwide that will showcase artists in many genres of art and promote their works to a worldwide audience, with an auction house section, a Personal profile CV section, a job board, a school information and personal seminar section, as well as a distribution warehouse that sells art supplies affordably available to the world market of artists. If anyone knows some very talented programmers who are willing to work for company stock in the HIVE arts league,  please do let me know.

     Mark, with respect to the poem, I don't want to seem pretentious, I don't think the function of all poetry or art for that matter is to translate the reason and rationality of our species, but to translate the emotions, the unconscious and interconscious aspects of our mind's adventure with chance and change, through transtemporal states, of our collective within situational contexts of relationally complex causes and consequences of what I call the Ecomimera, that's loosely translated to intentional agency of our environments in some regard, what Nature is as a force that contextualizes culture by making culture a tool of culture through imposing eventualities in the systems of signs natural and contrived that form any language. This latter point harbours a notion of Nature that does not overlap or intersect culture, but is that place where the stochastic mechanisms of experience suffuse with Culture to create a sort of hyperNature and hyperCulture, a sort of elevated state of concord with Nature, a place where Culture forms an identity with instinct and intuition with Nature itself, that so intertwine to create a function in both Nature and Culture that is identical with its enchantment with extemporaneous and random force. 

     Like the domain of extemporaneous force, which as a force of Nature contextualizes the progress of Nature...My poems are like a storm, the fresh smell of Ozone in the air, a reclaiming and a recharging of Nature and Culture imported through the act and art of Pulse Poetry. The implication of this to my poetry is nothing more than a suggestion that we belong to a whole ecology of elements, which are fundamentally mysterious and which with science, or myth or some variation of some reference system, creates emergence through the decoding of fundamental and sometimes inobvious levels of salience. 

     Pulse is an opportunity in this aformentioned examination of inobvious levels of salience, a means to become mindful of interconscious levels of human ideation, to through the unconscious mind become aware of more things.  Pulse Poetry is in that sense in some regards an extention of Dadaist conceptions, in other respects a futurist project, a means of imposing the extension of language first to a group then to the masses, but Pulse is always esoteric and always a challenge, it does not say one thing alone, it is a discourse with time and suggestion itself, it's an exegesis of the human condition, through leaving out elements, through abstraction, and it writes into the hidden dimension of human expression, something that speaks as such in the very language of the abstract.

     To the first cave dweller the grunt represented the full range of things articulatable in a later language, our present language is in a state of flux and we are like the cave dwellers, how many more things we will be able to say if we, like those first cave dwellers experiment with language  The function of all language is to convey not just intention but the expression of the non-intention of natural phenomena, following in patterns of regularity that are like an intention.  THe function of Language is to convey the product of domains in which intention and non-intention impact and impose upon the functions of our species a set of natural and imposed and constructed perameters that forces us to adopt change and consistency in mindfully aware ways.  The function of all language is as such for us to adapt, or create opportunities in which we may adapt, and grow a system of social and political signs that balance power and create equilibrium and virtue in a populace as part of that adaptation.

     Pulse is in a sense a bridging of the developments in our explanations of the structure of the mind, and its functional expression in the context of self-conscious, self-awareness. Pulse is not in that sense a molding of historicity as much as it is a molding of the elasticity of future ways of conceiving and understanding expression.  Pulse is a language adapting to the random forces of nature. Pulse may be the intention of Nature, if nature had a voice, it may be Nature speaking through human agency.   In this sense Pulse poetry is oracular poetry to some extent not perhaps in the sense of revealing fate, but in revealing mystery and its fundamental contributions to expression.  I have said many times Pulse is a kind of Jazz, it's this, it's the evolution of Beat poetry, it's the Pulse of the World, it's language's latent capacity to conceal and restrict, to combat as it conveys, to erradicate and instantiate multiplicity simultaneously to a mind eager to encode and decode importance in ways of seeing and understanding the world.

     Art creates new contexts for experience, contemplation and ascriptive expression. That is what I believe true Art does, it recontextualizes our potential intentions and expression through enunciations of development in society, painting, drawing, writing is a sort of building up and simultaneous breaking down of that enunciative project, of articulating and pausing to allow the breaks in between articulation to fill a scene with meaning or else fundamental mystery that give us an aesthetic experience....that could be transdimensional, interdimensional, intradimensional, and expressed in a non-logical but not illogical state of affairs, the tabla rasa of consciousness bearing its own vernaculars as a consequence not simply of being a language, but perhaps in the case of my poetry translating a general soup of jargon that conveys elemental distinctions in the style atmosphere and aspect shifting naturalized as an inalienable rite of passage and process of articulation, through the lifelong career of consciousness.

     One may write in the context of the instant, or one may write within the context of the aeon, and it is the challenge and privilege of the artist to achieve this in the same ouvre and distinguishes Artful expression from the apex of the human potential to capture a transcendent element within Art, creating different "Aestheti-Vernacular" forms let's call them. Greater than the art of writers are the savants who answer mystery with silence, the sages. I attempt to from an amateur's Point of View, calculate for their voice, in ways that may be clumsy and computational, but I seek to articulate for the unspeakable but not ineffable, speaking to elements in translatory elements of expression, making the unknown known, making the invisible visible.

I seek to create a poetry that takes the translucent and transparent and making it opaque and visible but not through distinction of linear meaning necessarily, but through fundamental mystery's function which causes us to IMPOSE import, or impart in our each own unique system and series of conclusions pauses and processes, ways to interpret a narrative or non-narrative flow of ideas as we each derive our own system of atmospheric signs and signifiers within the context of our each own unique meanings in a text. We are like blind people from the fable feeling the elephant and describing a fan, a hose, a tree trunk, but each instead feeling these disparate elements and calling it an elephant, in lieu of discussion and discourse that reflecting on art together creates. I trust it's obvious that my poetry does not simply seek to capture opportunities for association building in how we think or feel, but how we systematically and non systematically conceptualize, regard, observe and transcend mere meaning in search of the experience of language itself.

     This aformentioned experience of language as I conceive it, is a sort of structure with which we investigate structure and non structure with equal attention and fortitude...as a sort of communion of the spectrums of inert and active potentials to connect meanings in direct and indirect ways through abstraction itself.  I am most happy that you enjoyed the poem, that means so much to me, and I understand the deferred character of this writing style, what I call PULSE poetry, that it's not necessarily fully understood.

     I hope that this poetry is like a lens that captures what is going on at the periphery of a scene in a movie, stitched together this creates a sort of remnant of language, a situational collection of possible motifs and potential associations that ongoingly recontextualizes aspects of posited narratology, situational motifs, descriptive oeuvres that are revisited in waves of oscillating specificity via sometimes non-specific elements, generating atmosphere into a soup of possibly individuated collections of meanings so abstractly woven as to create and impose a non linear multiplicity of meaning framed by ingots of linear construction.  Thanks again for liking my work!

~ Rockwell Wilder

If anyone is interested in contacting me regarding getting HIVE off the ground, please contact me at peter.theodoropoulos@utoronto.ca as well as ack_ademic@hotmail.com.

People can also connect with me on Linkedin.com.

https://ca.linkedin.com/in/peter-kaleb-theodoropoulos-67646a39?trk=prof-samename-name