UBERCOSMOS

ON PULSE POETRY AND ITS ORIGINS:

     Please mind the content of the following article, it's very me me me directed, but that's the reason for this part of the forum in part, and it's good for me to organize my achievements into a coherent unity, so it presents some challenges for me, there appears to be purpose in my method, as seemingly chaotic as it is...and I hope the summary of my achievements and intentions with the formation of PULSE poetry and the interesting history from which it emerged, with a foundation emerged from Performance Art, a priority on worldbuilding and creating new disciplines, new forms for the imagination and new ideological implications from the non formulaic charactericity of my method. 

     I am influenced by E.E. Cummings and great thinkers of this age, but mostly Pulse emerged from my love of Music...Pulse represents the birth of something in poetry that is closest to Jazz's influence on the spoken word.  Just as my friend, the most gifted Canadian poet Clifton Joseph has managed to master Dub poetry, and capitulates the Jamaican imagination in a most Avant-Garde musical and salient way, so too I have sought to bring Pulse to the fringes of a creative musical sort of expression, indeed Pulse is music without the notes- the feel of a sound sculpture, the cadence of and cadentiality of novelty expressed as discovery and unconcealment of form through a temporary structural dasein of meaning construction, out of the enchantment of language itself.

      All artwork that accompanies the images is my own, I was schooled as a painter and have been in University for fourteen years spanning four degrees, and have been writing poetry for thirty years on my own, without schooling in poetry and creative writing to direct my development as a writer.  

     When I was in Arts school, my drawing professor the always amazing Richard Robertson, told me to take on the pose of the person I was drawing.  This led me to something that would radically evolve my poetry in the form of a writing style I call FRICTION.  Friction is essentially a sort of live action role playing that you record in some fashion in real time followed by an immediate critique, I practiced this in two to three hour intervals for up to sixteen hours a day for over four hundred days after a performance art piece to God, which lasted about 200 days where I would spontaneously make up poetry and sing and dance in my room, as my father was dying, it was my way of coping with the distress I had to celebrate life, I could not depress myself too much, I wanted to celebrate life, I was praying to God my father's condition would improve by after five years of being paralyzed on his right side, my father eventually died, at a fraction of his original weight, Pulse could not have happened if my father did not go through his crisis, which gave birth to my crisis, PULSE as such is a language of dissociation, of detachment and discovery, of something both Epicurian and Stoic.

     I was inspired by Mieke Bal the world renouned semiotitian I had met once to discuss a protrepticus I had sent her called THE SINKTANK PROTREPTICUS, which was rather revolutionary of which no copy exists, other than ones sent to my Philosophy professor Doug Hutchinson, and the one sent to Mieke Bal.  I met Mieke Bal just before a conference organized at the University of Toronto in part by Lisa Steele, and the Visual Arts department, on INTERFERENCE Mieke Bal pointed out that the original meaning of interference meant to create something stronger, she clarified that the conjoining root word Fer from Ferrous meant iron, and as such stood for something incredibly strong. Interference sometimes means to improve a condition or circumstance. 

     I inverted this aforementioned insight into friction.  I went in character and stayed in character, I would interact with no one, I did not leave the house but for one day of classes, in 2009 to 2011, the period where I was developing pulse poetry, went through my performance art piece before this, and had gone through a most distressing time with the death of my father who died on August 23 of 2011. During this time I was no longer interested in marks, in part due to certain problems I was going through with the condition my father was in.  For over one year I received essentially zero percent, I handed in no work, I was not well.  My 200 day performance art piece that gave birth to spontaneous poetry writing except for one poem group called ERASERSWITCH which is available online, gave birth to friction, an art form I hope will be studied and made available in Art school's theater departments and in Universities and through Guilds that oneday adapt and evolve friction to be a performance based extemperaneous art form on par with Shakespearian works.  But how did Friction evolve for me personally?

     I began writing SCIENCE FRICTION, it evolved my poetic practice, both were just sooooooo way fun.  It was otherworldly to take on the psychological framework of the characters I did, people that had time traveled, it made me write a friction piece PHENOMENOLOGICAL SOCIOGRAPHY AND TIME TRAVEL, I purposefully created errors in the work, in order to invite scrutiny, and critical engagement, but the work is optimistic it blends irrational and reasonable elements seamlessly. In the work the time travel I point out is linguistic, and the recursion based on the number I have suggested is arbitrary and dissolves into absurdity, but my point is that SOME knowledge is in part sort of absurd, since it may simply be a conditioned response that has no correspondence in actual reality. This making absurdity palpable through a sort of cognitive sleight of mind, gave birth to Zenetic poetry which is the precursor of PULSE.

     Zenetic poetry emerged out of the KOAN, a means to use convention to break down the product of conventions. The Koan gets us to rely less on reason and rationality and brings us to a technique to help in the stilling of the mind, but as I show it's also a method to help initiate thought at the same time, to initiate speculation, to evolve and emerge the play and interplay of language and association. The result is a sort of Rorschach test that plays off of the role of cognition in situating multiple meanings that occur simultaneously in a hierarchy of interpretive elements that construct meaning and seek to organize attention about the prioritizations of plural conclusions that destroy linear association, and narrative in ways that however do not destroy atmosphere and mood, using elements like alliteration, formal repetition, and experimental exploration of cadences of nuanced themes. 

     What you are overviewing on this site is a range of poetic expressions from ZENETICS to BOOM to PULSE, that form together a dialectic of a principle exploration based on other art forms like Friction, and other developments in my history that gave birth to a new poetic tradition I am seeking to create that all fits under the rubric of PULSE poetry.  It grew out of a tension between placements in time and place and the emerging atmospheres and situations that evolve as a result of how language is simultaneously broken down and built up. Pulse grew from a tension between intention as inhering formal meaning, and the interpretation rich nexus of implied metaphor and deconstructive frames of reference that defer the linear convention of meaning construction as a constitution of structuralist entendres. Pulse comes from a compliment paid to me by an incredible teacher of mine Rudolph Bikkers who kindly paid me the compliment that my drawing contained the human pulse.  I seek to bring that search for reproducing Nature as I witness it, as affected by my subjective frame of reference and as I hope you will understand from this brief writing ON PULSE AND IT\'S ORIGINS see many philosophies and ways of contemplating have grown from this.

      When I was younger, in my early to mid I used to go out to clubs and paint in front of others, I called this ACTION painting, I was happy to find out it had been done before and went by the same name which I found a bit strange.  I learned to draw on the energy of the atmosphere and created abstract imagery that were often figurative that went with entertaining a dance crowd.  Action was in a sense the origin of PULSE as an aesthetic discipline.  I painted at Raves, private parties, after hours speak easies, Warehouse or House music gatherings, which are sort of underground parties that were popular in the early nineties, and late eighties, that emerged from disco and gospel music among other influences, on television on the Canadian TV dance program Electric Circus, which gained me some national and international exposure.

     My interest was atmosphere, celebration, humanity, progress, evolution, and spectacle, these themes built my sensibilities and affected my ways or writing, which were at this time stuck in metric form, and in rhyming couplets, which were charming and fun to write, but which hadn't truly experimented beyond this very much, however, My drawing from atmosphere drew me into a struggle to express myself through abstraction my last two girlfriends were poets and they influenced me too. I owe a lot of my evolution to their explorations of the abstract too. My favourite band TVOTR, TV on the Radio, affected me as well.  I saw abstraction as liberating, the narrative traditions of pulse were alive in music, and I took an essentially musical principle that I sensed in bands like Nirvana and turned a poetic convention in music into poetic form independent of the diogenesis of sound and poetic form, but in a way that retains the lyrical flow of something that is inspired by muysic, if not musicality, PULSE is something like jazz, it has no form, that is its form, it has structure, but it's form is drawn on from elements in the environment.

     Jack Kerouack and Allen Ginsberg were important influences on me.  In keeping with the notion of beat poetry this is a continuation of the lifeblood of meaning meandering in the marketing of language, this is a business, our business is to sell ideas, money changing hands is incidental, it's a business of exchanges nonetheless an exchange of sacrifices for value exploration, the showmanship of language is something endearing to me, something captivating. The showperson-al integrity of language is something birthing itself in a new potential for language, making movements of meaning construction popular in the genres and subgenres of temporal progression, as a dialectic of conventions sometimes based in time and sometimes atemporally ripped out of the pulse of nature, as something transcendent and new that recontextualizes how we organize information and systems of ideas into theory and practice, ripe for revolutions of method. 

     Drawn from a Philosophical branch of Atemporalism, a philosophical-aesthetic movement I had gestated after my father had a stroke and slowly died over a five year period, and the non linear style of Zenetic poetry, which grew into PULSE which seeks to be narrative or have narrative elements through a bridging style I call boom poetry, which includes both Pulse and Zenetics.  Zenetics is based on Zenes (The DNA of CHANCE), and zemes, that sensibility or attention to shifting extemporaneous change internalized and characterized by powers of suggestion and multiplicity.  Zenetics involves just studying words, and taking language from many sources simultaneously while wresting with trying to create ingots of meaning in the chaos. 

     As one builds fluency with this (I practiced over six thousand hours before I reached PULSE, a rhythm in the chaos, and in between is an uncertain ground I call the BOOM poetics that informs pulse...it's just language a celebration of the materiality of language, the structure of language the polysylable, the phoeneme, the alliteration of sound, order in the stochastic emerging meaning that pre-figures narrative. In virtue of this I am creating a new art aesthetic called Imbricationism that merges typographic elements and image constitution merging the materiality of imagery with the construction and syntax of words, in effect turning the word into an image of sorts, or as subtext and imbricated form with a visual aesthetic that can incorporate anything traditional into new narrative possibilities, forming a competition between the written word and the image, in efforts to create new narrative.

     Just as a bridge is never distinct from a road or path or both sides of a shore, so too Zenetics forms a continuity to PULSE through Boom poetics, that forms a continuous path or evolution. ZENETICS is a system remember of drawing on dynamicity of ideation at a highly engaged cogntive level with high variation and subtlety of concept formation... Essentially this is part of meditative practices for a new Tao, that has roots in Buddhist practices, in Friction (I will reitterate and emphasize or clarify that Friction is a sort of Method writing and sometimes full body real time LARP writing that all gets recorded, I used my computer, and voice recorded, but one can use a camera too, where you play several characters at the same time in evolutions of themes that worldbuild your characters connections that you cannot arrive at with normal writing) and through friction, I seek to reconcile Polytheistic and Monotheistic traditions, AS a way of doing philosophy. I use discussions with gods, or great leaders, and philosophers to build up a philosophy of my own. One of my favourite characters to use was Samuel Clemens aka Mark Twain, as well as Lao Tzu, Lao Tzu was the only character that used my natural voice, I put on many accents in the evolution of Friction and it's a marvelous way to train your mind for spontaneity.

      I know this sounds controversial but I realized about mid August of 2016 that I am in effect creating a new philosophy that has religious implications such that I am in effect creating a new religion that is completely new, completely sourced on how ideas fit into ideologies or evolve ideologies, through questioning, as well as through oceans of aphoristic evaluation I call that GUARDKEEP (meaning of import and significance for study and emergence) aphorisms. Such aphorisms seek to unify humankind, not to create division but to speculate and assert philosophical contexts whereby sacred and mundane elements fuse into a reticulation of beliefs that reticulate concepts in ways that systematize while challenging systematization, in ways that contextualize our emerging understanding. I spent hours in friction pretending that I was Lao Tzu and speaking from his perspective. Basing my evolution on a certain dialectic rhetoric based on ancient principles, that are relatively new in the west as I practice them, I managed to create a concinnity of practices that have religious implications. Like Buddhism, Zenetics, as the new TAO is a PHILOSOPHY, it will grow rituals, it will be drawn into a new emergence thanks to movements like the New Age Movement, and I have many writings like MY TALK WITH KRISHNA (https://www.scribd.com/doc/296404681/My-Talk-With-Krishna-by-Peter-Kaleb-Theodoropoulos) that stand as a philosophical work that is very anchored in both Friction and Zenetics.

     Cetegoronic Meditation is a tactic of dealing with uncertainty that defers the absolute certainty of every categorical assumption we make.  It is a way of testing the Paradigm.  It is a way of evaluating that which resists categorization or linear appropriation, just as the Tao does, it appropriates this method into Envelopopulate or thorough essentially Taoistic wisdom, through exhaustive lists that examine features of a problem and its aspects, which envitalizes our language by deferring our categorical instinct to deaden knowledge in a Medusal reduction of the word to a dead referent.  PULSE poetry brings life to language, and language to life.  It's a celebration of abstraction, and non grasping that seeks to proliferate the conductivity of associations that build up a connection between formalism and deconstruction, that creates an epistemic gap between expression and self reception, where meaning and narrative are negotiated and reconciled into a tool of and for expression and formal bias that constitutes relative styles.

     I have created a new abstract number system, a new style of language called Challey Giff, or the Giff aka Challey, as inspired by my talks with my long time friend and fellow artist Clinton Michael Lown, A new Political Socialism called Sivilist Democracy that essentially fuses communism with Liquid capital and infrastructure incentives that allow for the emergence of wealth that does not decimate the social potential of groups to organize toward social prominence, through restriction and control not of competition but of the selection of our collective projects as bridged between national interests and emerging values that take care of the poor and impoverished, In Sivilist Democrasy homelessness and poverty are cured, Sivil democracy stand for social evolution civil democracy, it is the evolution of our world's political identity.  Sivilist Democracy represents responsible freedom, and shall grow to prominence between 100 and 1000 years. I have made up many words, and frequently infuse my creations with completely fabricated wordplay as inspired by the GIFF, (I came up with the title before I ever heard of a GIFF- which is a sort of short animation)... this showed up prevalently in the BOOM stage of my writing, that merged Zenetics with Pulse.

      I have made up theories like Omitted Signification (or OS theory) to define how Hegemony works, how inference is constructed in language through what I call a MORSV scale, that is Multiple Omitted Recursive Systematic and Variable, which has implication to robust AI robotic language and "ritual space" programming, I have repackaged notions of evolution with my notions of a natural Principle called Ecomimeral harmony, which is the emergence of novelty brought into a system with the ability to bring stasis to that system between periods of rapid and pluralistic evolution affecting that system.

     I believe that involvement with my method gradually increases Ecomimeral harmony as it trains the mind through Cetegoronic Meditation on ways to build Envelopopulate wisdom in such a way as to emerge creativity optimally in rewarding and personally maturing ways. Challey is essentially a made up language but the wordplay gave birth to BOOM poetics, and symbolizes an important link in the formation of Pulse which has various formats.  PULSE and BOOM both used Two three and four words per line is the format I have been using but I experimented with up to seven words per line for a time. Pulse also breaks completely from this format, and enters into organic narrative, that is a sort of diamond and dross game, where you randomize your language internally, without the use of randomly sifting through books the internet or randomly listening to the radio or television or books on tape or recordings on CD as I have used, to create poems in the style as one would use in Boom and Zenetic poetry. 

     I welcome you to emerge an understanding of PULSE and to study your dictionaries daily, In a rich Vocabulary we become rich contributors to subtlety, general specificity that births inquiry and a sort of oscilation at consideration and obscurity that have its own aesthetic beauty. I welcome you to contemplate the emergence of the new Tao, we promote peace, resistance to tyrannous governments in reasonable interventions that seek only to go to war with excessive belligerence, a paradox of sorts, but the result is the minimal amount of violence necessary to balance advantages between all groups as they evolve and emerge and develop in the world stage of generating innovation and balance in ways that ongoingly resituates creativity in well reasoned productivity that is nor wasteful nor valueless and such productivity in a future vision for visceral vitality. 

     Let Pulse be part of your creative voice, emulate and evolve it into your own style.

Best,

Peter Kaleb Theodoropoulos A.O.C.A, B.A. B.Ed, B.FA.