My dear David, _because_ of these things you cite as your reasons for not
writing.....you must write. I don't mean that you need to write ABOUT them,
but that you need to write _because_ of them.
They have driven you in upon yourself---an ideal situation. So many things
have driven you to yourself and therefore to the ideal ground for your
exceptional poetry.
I think your best poetry has always been the most powerful and free
_because_ of the in-driving occurrences. Your poems are preparing
themselves.
Best,
Judy
2009/1/27 David Bircumshaw <[log in to unmask]>
> Ah, Chris, 'to touch' and art. This afternoon I was going round an
> exhibition of Arts and Crafts stuff by Ernest Gimson and his
> collaborators: chairs, tables, a sofa even, all wood. And what you
> could not do was touch any of them. Or sit on them, which is the
> natural reaction to find out what a chair is like. Art is money, and
> you have to have the right bank account to finger and feel it.
> Modernism has taken alienation even further: we have virtual reality
> as a ground line, poetry is disappearing, into a nothingness of
> unvoice. Friends on Facebook, pseudo-art in pixels, blah blah blah.
> I'm afraid our dear friends in the USA have been more responsible for
> this disaster than anyone, but I understand the Chinese are taking Art
> as Mass Production Capitalism further than anyone.
>
> Avant-garde poetry started out as a critical response to the overwhelm
> of capitalism, unfortunately now it has been absorbed by the Beast.
>
> We need a new direction, all round, but bugger knows what it is. I've
> got to the point where I no longer want to write, and certainly not
> publish, because I don't want to get sucked into the monstrousness
> that fouls my life any more than I already am.
>
> Best
>
> Dave
>
> 2009/1/27 Christopher C Jones <[log in to unmask]>:
> > Haptic, from the Greek verb, to touch, was introduced to art history and
> > criticism by Alois Riegl in the later 19th century. More recently it has
> > found its way into the writings of great philosophers in the work of
> > Gilles Deleuze. Also, experimental psychology has taken it up as a
> > possible way we learn to use our eyes. The distinction is between haptic
> > perception and sensation and optic vision in art theory and Egyptian art
> > is considered haptic art as distinct from optical art which is said to
> > start with later Roman art. It is also an essential part of modernist
> > visual arts including art photography (eg Robert Frank and Lee
> > Friedlander) so it is not at all correct to say art photography is
> > concerned only with optical art. It also refers to the positions of the
> > flesh and blood body in art sensation and as such is connected to
> > modernist and recent poetry. Even typing on a computer keyboard is
> > haptic and is now being taken up in the computer science field.
> >
> > Anyways, one of my fave areas, so will stop here. best, Chris Jones.
> > PS speaking of haptics, the keyboard on my new laptop is much easier to
> > use then the ancient desktop tower I no longer use. The shift keys, esp.
> >
> > On Mon, 2009-01-26 at 15:49 -0700, Sheila Murphy wrote:
> >> I think haptic is a beauty of a word, and sounds less clinical,
> >> Stephen.
> >
>
>
>
> --
> David Bircumshaw
> Website and A Chide's Alphabet
> http://homepage.ntlworld.com/david.bircumshaw/
> The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> Leicester Poetry Society: http://www.poetryleicester.co.uk
>
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