{"id":38100,"date":"2018-07-19T16:27:21","date_gmt":"2018-07-19T14:27:21","guid":{"rendered":"http:\/\/www.arshake.com\/?p=38100"},"modified":"2018-07-19T16:27:21","modified_gmt":"2018-07-19T14:27:21","slug":"pensiero-poesia-scrittura-in-feedback-loop-pt-7","status":"publish","type":"post","link":"https:\/\/www.arshake.com\/en\/pensiero-poesia-scrittura-in-feedback-loop-pt-7\/","title":{"rendered":"Pensiero poesia scrittura in feedback loop \u2013 pt 7"},"content":{"rendered":"
Arshake is pleased to publish the sixth of seven appointments of an essay on thinking, poetry and writing in the technological era by Brunella Antomarini, Professor of Aethetics and Contemporary Philosophy at the John Cabot University in Rome. The essay originally appeared on the magazine \u201cSmerilliana. Luogo di civilt\u00e0 poetiche<\/a>\u201d (Pensiero poesia scrittura in feed back loop<\/em>, in \u201cSmerilliana\u201d, n.17 2015, pp. 275-90), and it is here relaunched, translated into English.<\/h6>\n
Part I:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop]<\/em><\/a>, Arshake, June 7, 2018<\/h6>\n
Part II:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop]<\/em><\/a>, Arshake, June 14, 2018<\/h6>\n
Part III:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, June 21, 2018<\/h6>\n
Part IV:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, June 28, 2018<\/h6>\n
Part V:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, July 5, 2018<\/h6>\n
Part VI:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em>Arshake, July 12, 2018<\/h6>\n
\n

(…)<\/p>\n

From a text by Vladimir D\u2019Amora about poetry:<\/p>\n

What poetry is today and what today comes from poetry is the request of suspending – in our present time, that is, in revolt and torment – this very ability of exposing itself\u2026<\/em><\/p>\n

Poetry is a stage of communication that alloes for the aberrations and exceptions of what is recognizable as communication. Poetry then is the betrayal of what is and can be communicated\u2026 \u2013 but in view of what? And in the name of what?<\/em><\/p>\n

Poetry is that state of language when language is as if trembling \u2013 being capable of a blind impact.<\/strong><\/em><\/p>\n

Poetry is that revolution of language that makes a given time political, that is, worthy and competent \u2013 just that! \u2013 and the echo is a recursive intensity\u2026\u2013 just an echo.<\/em><\/p>\n

Thinking without concepts, that is, without defenses or shields that reduce the impact of what we can bear \u2013 this is the state of language that we call poetic. It seemed so natural to us to have a \u2018logic\u2019 of the world, to entrap it into a logic. But things were not like that. The world is more powerful than any attempt to understand it.<\/p>\n

The poet (like the genius in Kant) skips over that understanding, but now \u2013 unlike Kant’s genius who still worked with metaphors, analogies, images, aesthetic ideas, etc. \u2013 the poiet<\/em>\u00e8<\/em>s<\/em> makes the opposite effort, tearing the world apart from itself, letting it do itself with all its transformations. In the end, this is the most radical form of resistance. It is no longer a world of planets and galaxies, but something microscopic; it determines itself in that which most unlikely occurs in the minimum. That of the poet is a writing that excludes itself from the world and its objects. This writing now does not rely on ideas larger and freer than any object (a stance that has been supported by Kant to Heidegger up to Arendt), but on very small ideas, (or limited theories):<\/strong> the poet\u2019s effort consists of crushing ideas into pieces in order to make them transparent tiles of the mosaic that appears and disappears each time a text begins and ends. The poet withdraws and as those who withdraw, he seeks for attention and succeeds if he empties out heads filled up to the brim, keeping them in the tiny realm of the very few possibilities left to language.<\/p>\n

\"\"<\/p>\n

The poet\u2019s task is that of looking for primitive qualities of words that lack any reference objects; he looks for forms coming to life for a fraction of a second in the intertwining of words, images, and gestures. And that this encounter between words devoid of any referents begets these temporary worlds, that is the power of poetry. You don\u2019t need more than that. On the Web, this short-lived power is indefinitely scattered around. There, writing can withdraw, as it presents itself as pure presence, settled there as pain (breach) and feeling (healing), without inducing thinking (nor fostering a critical mindset).<\/p>\n

****<\/p>\n

In political terms, there we lose our ability to discern, but gain the necessary flexibility to change our own convictions along with the minimal changes that the world undergoes. The mind is adapting itself to a non-human condition, delegating its identitarian power and its delusive effectiveness to the machine. Interconnected with a sort of mobile central processor that Merlin Donald calls ESS: External Symbolic Storage, we are modifying it as it is modifying us. The ESS replaces the old authoritative scholarly encyclopedia and it is able to update itself at the fast pace of Wikipedia updates. Now we can no longer say that the old encyclopedia was more reliable than Wikipedia, as it provided us with a stable knowledge. Politics had dictated that stability. And Wikipedia reveals that knowledge is not stable when it is disseminated globally and in real time.<\/p>\n

There are poets who do not defend themselves but turn this state into an instinct, which starts a verse from its decomposing power, breaks it down to the microscopic space.<\/p>\n

Vladimir D\u2019Amora:<\/p>\n

I \u2013 poetry \u2013 one doesn\u2019t understand it: it doesn\u2019t think<\/em><\/p>\n

and I live but I can\u2019t: the word doesn\u2019t make the thing<\/em><\/p>\n

and hangs at an intact point and is lost in the will<\/em><\/p>\n

as the sign rests, desire is born<\/em><\/p>\n

torsoless again, all in its pain<\/em><\/p>\n

\n

References<\/p>\n

Althusser,\u00a0Lenin and Philosophy and Other Essays,<\/em> New York:Monthly Review Press, 2001.
\nArendt, The Life of the Mind<\/em>, San Diego\/New York:Harcourt, 1978.
\nDario Cecchi, La costituzione tecnica dell’umano<\/em>, Macerata: Quodlibet 2013.
\nG.Deleuze, F.Guattari, A Thousand Plateaus<\/em>, Minneapolis: University of Minnesota Press, 1987.
\nDonald, Origins of the Modern Mind<\/em>, Cambridge, MA: Cambridge University Press, 1991.
\nLuhmann, Social Systems<\/em>, Stanford: Stanford University Press, 1995.
\nNo\u00eb, Action in Perception<\/em>, Cambridge, MA: MIT Press, 2004.
\nRosselli, \u201cSpazi metrici\u201d, Le poesie<\/em>, Milan: Garzanti 1997. 337-342.<\/p>\n

\n
This is the sixth of seven appointments of an essay on thinking, poetry and writing in the technological era by Brunella Antomarini that originally appeared on the magazine \u201cSmerilliana. Luogo di civilt\u00e0 poetiche<\/a>\u201d (Pensiero poesia scrittura in feed back loop<\/em>, in \u201cSmerilliana\u201d, n.17 2015, pp. 275-90).<\/h6>\n
Part I:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop]<\/em><\/a>, Arshake, June 7, 2018<\/h6>\n
Part II:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop]<\/em><\/a>, Arshake, June 14, 2018<\/h6>\n
Part II:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, June 21, 2018<\/h6>\n
Part IV:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, June 28, 2018<\/h6>\n
Part V:<\/em>\u00a0Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em><\/a>Arshake, July 5, 2018<\/h6>\n
Part VI:<\/em>\u00a0<\/a>Pensiero poesia scrittura in feed back loop [Thinking poetry writing in feedback loop],\u00a0<\/em>Arshake, July 5, 2018<\/h6>\n
\n
\u201cSmerilliana<\/a>\u201d was first published by Enrico D\u2019Angelo in January 2003, in the Marche region.It initially came out every six months. Later every volume of \u00abSmerilliana\u00bb became a place of poetic civilisation, with the addition of the series \u201cPoets of\u00a0Smerilliana\u201d and \u201cMosaic\u201d.\u00a0When it first appeared, Giovanni Raboni cited \u00abSmerilliana\u00bb while writing in \u00abCorriere della Sera\u00bb, calling it the most open-minded and interesting poetry publication on the Italian scene. \u00abSmerilliana\u00bb ideally continues the work of the literary biannual magazine \u00abPlural\u00bb (founded and directed by D\u2019Angelo in Napoli, between 1986-91), pursuing the pluralist outlook and style of the movement, as defined by the Orientalist Rahim Raza.<\/h6>\n
\n

Images. Alessandro De Francesco, \u00abThe Augmented Writing\u00bb, language art project and a writing method, images\u00a0via<\/a><\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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