Week 13: Review Questions

Early Part of Class:

1.      What was Dada and what were the reasons behind its creation? What were the perceptions and opinions of the artists who participated in this movement? Did these artists perceive and critique traditional art?

            I believe that this question is important because Dada was the first movement and concept we learned about in this class. With this, I believe that it is important to ask a question about it as learning about the ideas and concepts of this movement as well as the artists that participated in it ultimately allowed me to begin to see art in a new way. I began to see art in a new way while discussing this cultural movement due to the fact that the artists within it used unconventional ideas in order to bring about new forms and styles of art. With seeing that this particular movement incorporated these unique and often strange forms of art, I was then able to understand more of what this cultural movement was about as well as what this class would be about. Through all of this, I believe that Dada is an important concept and movement to understand as it essentially helped introduce the rest of the cultural movements we talked about over the course of the semester. More importantly though, it seems to have laid the underlying theme that exists between all of these movements in that they each critique traditional art for which the participating artists then try to create new and unconventional art forms in response.  

Middle Part of Class:

2.      Can any parallels be drawn between the Oulipo movement and Surrealism or are the two movements substantially different from one another? Use the concepts and intentions of each movement as well as the perceptions and opinions of the artists involved as a guide for exploring this question.

3.       How does the Oulipo movement differ from the other cultural movements we have learned about? Does its intentional focus and use of constraints act as a limitation for an artist? Or, do these constraints rather act as creativity stimulators? Why or Why not?

            I think that both of these two questions are important because they both draw on the main concepts and ideas of the Oulipo movement which was a significant part of this semester’s discussion. I think that the first question is important because I find it interesting to explore and consider how the Oulipo movement and Surrealism are similar to one another as they both focus on the importance of an artist being able to draw into and use their imagination as a creativity stimulator to make new art. On the other hand though, what is even more important is to explore how these two cultural movements are substantially different from one another as the Oulipo movement uses constraints as a means to produce new creativity whereas Surrealism uses the subconscious mind and the human psyche in order to create new and unique forms of art. Therefore, since the Oulipo movement specifically places constraints on an artist, the second question is also important as I believe it is interesting to explore what the intent and reasoning is of purposely placing constraints on an artist and if this would be beneficial or detrimental to an artist.  

Recent Part of Class:

4.      What was the reasoning behind why artists within the Fluxus movement worked together collaboratively rather than individually? What are some Fluxus projects or works of art that portray this idea of collaboration?  

            I think that this question is important because I find it interesting that this specific movement focused on and used collaboration as the cultural movements we have learned about thus far have not really focused on or discussed this idea. Also, since I was very interested in reading about all of the different collaborative projects made during this movement, I think it is important to explore the reasoning as to why collaboration was so important for these artists and thus what it meant to them and the art they were creating.

Week 11: Networks and Relationships- Receivable Texts

                In reading the article by McLuhan, I thought that the concept of receivable texts was interesting as it seems to portray what the Fluxus movement was all about in that a network of artists came together through an informal way and thus created different forms and pieces of art. This idea of receivable texts is described in the article by McLuhan as it discusses the concept according to Roland Barthes in that “this text, guided, armed by a notion of the unpublishable, would require the following response: I can neither read nor write what you produce, but I receive it, like a fire, a drug, an enigmatic disorganization” (McLuhan 3). This definition of the concept is interesting to me as it seems to imply that the idea of receivable texts is very different and unique as it does not involve a formal way of making and producing art which in turn makes it seem unconventional. Despite this though, Barthes alludes to the idea that even though these texts that were produced were often very difficult to understand and read, they essentially consumed artists when they received them. With this, this idea of fascination with these receivable texts leads me to believe that although this concept seems to not have been intentional, it was very popular among a network of specific artists at the time.

In further reading about this concept of receivable texts and what it entailed, I found myself beginning to see direct influences of the Fluxus movement within it. These influences became apparent as I learned that these receivable texts were essentially an intimate relationship that ultimately arose from the formation of a network of relationships among many participants that sent and received these texts in the mail (McLuhan 4). Considering these texts were passed around through a network of artists, I believe this portrays one of the beliefs of the Fluxus movement in that collaboration among artists is better than one’s own individualism. From this, it appears that this concept of receivable texts consisted of the fact that these texts were produced for and circulated among only the participants of a specific network as they were passed from one person to another person in the mail. This concept is interesting to me because this close network of different artists that shared these texts together seems to reflect the attitude of Fluxus even more as having this collaborative method seems to allow each individual artist to focus on their own imagination and creativity. Each artist seems to be able to focus on these two aspects due to the fact that when they would receive the specific text in the mail, it is likely that they could then do whatever they wanted to with it. Furthermore, because these texts were often very difficult to understand and interpret according to Barthes, I believe that this allowed each artist to essentially perceive the text in any way they’d like which seems to ultimately force one to dive into their creativity and imagination even more.  

After reading the article even more, it was also interesting to learn that this network of participants was tied together not only as a result of the desire to make and send these texts to one another but also because many of the artists’ attitudes and perceptions mimicked one another. For example, the article says that these receivable texts all reflected a militant attitude towards mercantile constraints of publication for which is expressed by almost all of the multiple senders of these texts (McLuhan 4). This is interesting as these attitudes seem to reflect the overall sentiment of the Fluxus movement even more in that it is crucial that an artist’s creativity is not held back by the constraints of society as this ultimately limits one’s imagination and creativity. In thinking about the fact that these receivable texts reflected negative attitudes towards the constraints of mainstream publication and art forms, I believe these perceptions allude to the idea that these artists may have shared the belief that these receivable texts were essentially created in order to be substantially different from the mainstream forms and works of art. This idea is further apparent through the article’s mentioning of how these receivable texts created intense, intimate situations rather than the polite and pleasurable feeling one would normally get from reading something such as a magazine (McLuhan 4). With this, it seems as if these receivable texts contradicted the cultural standards of publication and rather took a different approach in which the artists shifted the tone and images of society. This shifting of tone and different images of society was depicted through the fact that the article says that these artists often used ironic satire, parody and inside jokes. I believe that the fact that these artists created these receivable texts for which incorporated parodies of mass-media images and concepts of society further alludes to the idea that they were contradicting and in a way mocking mainstream publication. Through all of this, this concept of receivable texts ultimately depicts and highlights the idea of Fluxus in that collaboration among a network of artists essentially allows individualism to overtake cultural conformities and constraints which ultimately results in creativity and new forms of art.

Week 10: Sons & Daughters of Dada- Fluxus 1

 One idea I came across in the article Fluxus Experience by Higgins for which seems very interesting was the creation made from combining artwork from different artists entitled Fluxus 1. I learned that Fluxus 1 was essentially a yearbook because it contained unique contexts of art as it included texts and objects by various artists that were associated with the first Fluxfestival (moma.org). Some of the artists included were Ay-O, Brecht, Stanley Brown, Robert Filliou, Ken Friedman, Geoff Hendricks, Higgins, Takehisa Kosugi, Jackson MacLow, Takako Saito, Tomas Schmit and Ben and Emmett Williams (moma.org). Fluxus 1 was a book that consisted of a number of envelopes bound together by metal bolts as each contained a printed work or art form from one single artist. It is interesting that the whole book was contained in a wooden case which was used, in part, to facilitate sending the work of these artists by mail. Because of this, a number of copies have the actual recipient's address written directly on the cover (Fluxus 1). I find this very interesting because it ultimately shows the collaborative technique these different Fluxus artists used as they all came together and relied on mail in order to send in all of their own and unique forms of art. This collaborative technique essentially highlights the Fluxus "do-it-yourself" aesthetic for which valued individualism over cultural beliefs and simplicity over complexity. This simplicity over complexity concept is especially exemplified in this book of art as many of the different art forms that were created and included by individual Fluxus artists show the use of simple objects and items for which ultimately resulted in very different, unique and perhaps even strange forms of art.

In further exploring Fluxus 1, I learned that this unique publication of collections of object-based works by different Fluxus artists ultimately resulted from George Macinuas as he essentially created and designed it. Fluxus 1 or also called a Fluxkit, contains objects, visual work, and essays by thirty-nine artists all of whom were not necessarily defined by social integration or friendships with the group (Higgins 14). It is said that Fluxus 1 was “Maciunas' first attempt at creating a coherent collective voice, an attempt to erode the artist's status as heroic individual and his first attempt to communicate the concept of self-sufficiency to the audience, an art where anything can substitute for an art work and anyone can produce it” (Fluxus 1). This idea is completely depicted in Fluxus 1 through the use of various items and objects such as songs, a napkin, a medical examination glove, photo portraits and visual and sound poems for which all ultimately yield multisensory, primary information (Higgins 14). With having each of these unique and interesting items, it seems as if they only help to exemplify Maciunas’ idea that art comes in various forms in which anyone can create.

These unique objects essentially do portray many of the different forms of art that can be created as for example, having a song with words and melody involves sight, motility and hearing. Having a napkin which is meant to touch the hand and the mouth involves tactility and taste. Having a medical examination glove which has the smell and look of latex involves touch both in and through the glove as well as sight and smell. The photo portraits included ultimately appeal to the eye and involve all of the senses. Lastly, including visual and sound poems that are meant to be read, heard or performed involve the eye, the ear and the body (Higgins 14). From this, it is apparent that all of these simple objects actually portray different forms of art such as taste and sight for which one would normally assume is not art. As mentioned before, the Fluxus movement emphasized the use of simple objects which is apparent here as the unusual use of a napkin and a medical examination glove show new and creative forms of art. This use of simple objects essentially results from the beliefs of the Fluxus movement discussed earlier in that simplicity is more important than complexity. Overall, the Fluxus movement included a strong sense of anti-commercialism as well as an anti-art sensibility which caused it to focus on the artist-centered creative practice rather than the conventional market-driven art world (Fluxus). With this, it is apparent from all of the interesting and unusual objects that were used in Fluxus 1, that the intent of this movement was to essentially erode the cultural status of art as well as help eliminate the artist’s ego through exemplifying the idea that art can come in any form.

In learning what Fluxus 1 was, I think it is necessary to look at a specific example of one of the pieces of art included within it. I thought that the discussion of Finger Boxes by Fluxus artist Ay-O in the article was interesting as it specifically shows the idea of using simple objects as a means for creative art. Although none of the original boxes were included within the Fluxus 1 itself, an envelope version of this art form was included. The article discusses the original Finger Boxes as it says that these boxes contained various tactile elements ranging from nails to sponges, beads to cotton balls and bristle brushes to hair (Higgins 16). With this, the idea behind this particular piece of art was that because the boxes looked identical from the outside, the actual experience with these boxes could only occur from touching the objects inside. Therefore, one would have to insert their finger and explore the objects inside the box through touch as merely looking at them is only experiencing them partially (Higgins 16).  It is interesting that this project emphasized the fact that the index fingertip is the most sensitive organs as it shows that one is essentially relying on only their finger to create the experience with the art. Furthermore, I find it interesting that when one puts their finger in the box, their curiosity overcomes their sense of fear for exploring the unknown. I believe that this is true as the human psyche tends to be lured into the unknown and the uncertainty with things. I believe that this uncertainty that comes with not knowing what is inside the box essentially helps to portray the intentions of the Fluxus movement even more as the objects themselves yield the information and the experience of the art. Also, it is interesting that the Finger Boxes project focuses on the fact that the unknown objects inside should affect the audience communicatively as they are a means to be explored socially (Higgins 16). With this, it says that these Finger Boxes are not meant to be explored in solitude as they are rather intended for multiple users so that the experience can be a social one (Higgins 16). This social experience ultimately goes back to the whole idea of collaboration seen within the Fluxus movement as its aims were centered on the idea that it is necessary to partake in collaborated creation processes that use whatever materials are at hand as this ultimately allows artists to focus on the creativity of art rather than just their own artistic abilities.

Sources Used:

http://www.moma.org/collection/theme.php?theme_id=10457 (moma.org)

http://en.wikipedia.org/wiki/Fluxus (Fluxus)

http://en.wikipedia.org/wiki/Fluxus_1  (Fluxus 1)

Article: Fluxus Experience (Higgins)

Week 9: Restrictions and Obstructions

The Oulipo movement seems to be very different from the Surrealism movement as the ideas and concepts behind it seem to be revolved around creativity and the different ways in which creativity can be fostered through specifically putting constraints on an artist. This movement known as the Ouvroir de literature potentielle which is translated into “workshop of potential literature,” has the goal of creating potential works of art through experimentation as it intentionally places constraints on artists in hopes that this will foster unique and very creative forms of art (WikiOulipo). This idea of literature potential further translates into the seeking of new structures and patterns that can be used by artists in any way they want which only fosters creativity and the use of the imagination even more (WikiOulipo). With this, this unique literature evolves out of these constrained writing techniques that essentially make the writing task at hand more difficult for the artist to accomplish. Even though these constraints often make an artist’s task more difficult, they produce profound outcomes that often yield completely new and interesting works of art. Although it may seem that these writers are setting themselves up for disaster in choosing to be subjected to follow specific constraints, these constraints ultimately act as a means to trigger new ideas and inspirations that may have never been found otherwise. Considering these constraints are often very specific and nonnegotiable, the artists are ultimately forced to dig into and rely on their creative minds to come up with ideas that abide by the specific rules therefore making every piece of work from this movement fascinating and completely unique.

            Unlike the Oulipo movement that centered itself on the idea of using constraints as a means to produce creativity, the Surrealism movement also focused on the idea that it is necessary to dive into one’s imagination to create new art forms but was done through different ideas and concepts. Considering the Surrealism movement was heavily influenced by Marx and Freud, the artists within it hoped that the human psyche had the power to reveal the contradictions of the everyday world as this could foster creative ideas (theartstory). Even though they shared much of the anti-rationalism of the Dada movement, Surrealist artists focused more on the accessing of subconscious thoughts as a means to unite them against issues they felt were plaguing modern society such as war (theartstory). Furthermore, the Surrealist movement focused on exposing the inner worlds of sexuality, violence and desire which often fostered unusual behavior and unusual, taboo forms of art. Unlike the Oulipo movement, the Surrealist artists did not have any specific constraints on them and how they would make art as they seemed to follow the opposite approach in that they believed no constraints should be forced upon them as these constraints would stop them from creating the art they wanted to make. This lack of constraints ultimately gave them the ability to create anything they wanted to which is evident when looking at the bizarre, erotic and untraditional pieces of artwork created during this movement. Ultimately, the Surrealism movement was similar to the Oulipo movement in that its intentions were to use the imagination in order to create very unique and fascinating forms of art. Unlike the Oulipo movement though, this was done without having any constraints placed upon the artists which essentially allowed them to dive into and connect to the subconscious, erotic mind and therefore produced the profound pieces of art we see today.   
            In regards to the idea of maintaining tradition within both of these two movements, it seems as if they are completely different as one seems to completely abandon the idea of tradition whereas the other seems to respect it. In looking at the Surrealist movement, it is obvious that these artists believed that traditional art should be replaced with anything “anti-art” as these artists were fed up with modern society and its ways. This perception fostered the ridiculousness, the absurd and the basic disregard for traditional art form during this movement. This movement disregarded the conscious, formal production of art and instead focused upon the unconscious, informal production of art as it centered on the subconscious mind for inspiration which often resulted in themes that were not seen up until this point such as erotic, sexual behavior, violence and desire (theartstory). On the other hand, when looking at the Oulipo movement, it seems as if these artists were not generally focused upon making art that would contradict the traditional art forms but rather were interested in the idea of how these formal art forms could be changed by placing specific constraints on the artist. It seems as if the artists of this movement were more interested in the many different and creative forms of art that could evolve from putting these constraints and rules on the artists as this seemed more revolutionary to them than contradicting and criticizing the traditional forms of art.
            After having learned about both the Surrealist movement and the Oulipo movement, it is difficult to determine whether or not one was more revolutionary than the other. Considering I have heard about the Surrealist movement many other times before taking this class whereas this is the first time I have heard about the Oulipo movement, it does seem as if the Surrealist movement is more recognized by the public and therefore is well known. I think that because the Surrealist movement for the most part seems to have died down in the past decades whereas traces of the Oulipo movement can still be found today in present society, it seems as if the Oulipo movement may be more lasting in the idea that artists today are still using constraints as a means to make creative and unique forms of art. Although I do not believe that surrealistic aspects do not exist at all, I feel that in today’s society, the ideas that were prevalent during the Surrealism movement have just evolved into greater concepts making it difficult to pinpoint if a particular artist is heavily inspired by this movement alone.
            In learning about the Oulipo movement and how it focuses around the idea to specifically put constraints on an artist in order to make them use their imagination and create unique forms of art, I definitely agree that having these restrictions seem to make it more creatively stimulating for an artist. Before, I had never really thought about what it would be like if there were no constraints put on me for projects or papers as I have become so accustomed to being handed specific guidelines on what I need to do. Now though, when I think about what it would be like if I did not have any constraints or rules, I believe that it would be more difficult for me to create something as thinking of having absolutely no guidelines on what to do is actually pretty scary. I feel that if I was completely free to choose and do whatever I wanted, this would be more frustrating as I believe having constraints essentially makes it easier to create something as these limits tie an artist down to make something specific.
            Finally, after having watched the movie “The Five Obstructions,” the idea that constraints often make it easier for an artist to create art is portrayed. This is obvious through the fact that Jorgen is given specific constraints for each of the different obstructions for which ultimately gives him insight on what he specifically needs to do. When Lars von Trier assigns him one of the obstructions for which has absolutely no constraints or specific rules though, Jorgen seems to freak out and is apprehensive to follow the requests. It is obvious that Jorgen begins to feel even more pressure as having no constraints and guidelines causes him to rely only on his imagination and creativity in hopes that this will help him make something Lars von Trier likes. Even though up until this point Jorgen seemed to be in disbelief by the almost impossible constraints Lars Von Trier assigns to him, it is obvious that when he is given no constraints, creating the obstruction becomes much more difficult to accomplish as up until this point he knew exactly what Lars Von Trier wanted and therefore was able to create obstructions that pleased him.

Sources Used:

http://en.wikipedia.org/wiki/Oulipo

http://www.theartstory.org/movement-surrealism.htm

Week 7: Text for Project 2

Main Narrative

            On a cool winter’s eve, striking 9 p.m. a young scraggly male about the age of 23 enters the 7-11 on the corner of Sunset Boulevard and Vine Avenue. A black nylon mask, a dark navy blue sweatshirt and a pair of black jeans hide his ugly long and lanky alien body. Tucked with care inside the front of his pants, lies a shiny silver pistol that was stolen. Surveying the parking lot and gas pumps he sees that no one is around on this dreary night. He enters the gas station and notices a young woman working behind the counter. As his eyes dart to her, he sees that she is obnoxiously smacking away on her bright pink bubble gum while reading a magazine. Walking around the store his nerves start to consume him as his hands begin shaking and his legs begin to feel like twigs beneath him causing him to knock into everything around him. The chick says something to him but his mind is consumed with other thoughts. His peripheral notices headlights coming into the parking lot which signals that it is time. He rushes to the counter, slides his hand cautiously into the front of his jeans and pulls out the cold weapon. He raises the gun and says, “Give me everything you have right now! Do as I say or you will regret not listening.” The woman, frightened, throws the magazine down and begins opening the cash register. She whispers with a crack in her voice, “Whatever you do, please don’t hurt me.” The man is just as nervous as his arm and gun are violently shaking. Just as the bag is being handed over the counter, the glass door creeks opens and in walks an older man. Time stands still. Out of nowhere the man begins stampeding like a heard of elephants towards him while yelling gibberish as he tries to tackle him to the ground. He outwits the man as his youthful body allows him to dodge out of the way while at the same time causing him to lose his balance as he hits the floor. Rising, he finds himself again and runs out of the door into the cool, brisk air with cash in hand.

Clerk’s Point of View

            Another boring evening working at the lame 7-11 past supper’s time. I would be the one who is stuck here on a cold, crappy night when clearly no one is going to venture outside any time soon. Daydreaming off into the darkness, a tall black figure is walking across the parking lot. Kind of strange that he is wearing all black with his hood up but I guess it is freezing out. Hope he doesn’t come in here, I don’t feel like dealing with any stupid customers. Plus, these makeup tips in this month’s Cosmo are so much better. Ugh, the door just opened and it’s that lanky dude from outside walking in. Peering above my Cosmo I see that he is awkwardly walking around the store bumping into almost everything in sight. What the hell is wrong with this dude? Is he drunk or something? “Hey, um can you please try not to knock stuff down, I don’t feel like cleaning tonight,” I say. What a prick, he doesn’t even acknowledge me. Whatever, my job does not entail babysitting. Next thing I know this creep is hovering above me screaming something I can’t comprehend as all I can focus on is the fact that a gun is being pointed at my head. What the hell! Now I am really freaking out. Oh my god, what should I do? I am shaking like a leaf and my thoughts are so jumbled.  "Whatever you do, please don't hurt me," I muster out. All I know is that I need to just give him whatever he wants so that he gets the hell out of here. I shove the money into a plastic bag and just as I am about to hand it over to him, I notice out of the corner of my eye that the door is opening. In walks Dusty, the off duty cop that frequently stops in after his shift. Thank God, perfect timing. Now this jerk is going to be locked up forever. As Dusty looks at me and then the gun, he jolts over to the robber and says, “Stop! Do not move! I am a cop!” The dude is too quick for old Dusty though and pushes his way past him, ramming himself into yet another shelf. Composing himself, he runs out the door and into the dark. Thankfully, that was last time I saw that ugly, undeserving piece of crap.

Video Surveillance Point of View

            Time: December 14^th at 9:01 p.m. Video recorder set for rotating at about 3 degrees every two minutes. Three hours of tape time left before needing to be replaced. Young female working behind the main counter for the past three hours and counting. No customers for the past half an hour. Parking lot is completely empty. No cars at the gas pumps. Female reading behind the counter looking down. Fast movement towards the far left of the store. Door opens. Customer walks in. Wearing all dark clothing, a dark navy blue sweatshirt with hood up and black jeans. Face is not visible. Customer walks around the store. Up and down aisle one and two. Customer constantly bumps into shelves, knocking things over. Female looks up from the counter, mouth is moving and is looking directly at customer. Customer looks away and continues walking up and down the aisles with no coordination. To the far left, headlights appear in the parking lot. Suddenly, there is movement at the center of the store. Video recorder shifts back and focuses on customer running towards the female at the counter. Customer reaches in the front of pants and pulls out a weapon. Points the weapon at the female. Female positions herself back and seems to be saying something. She begins opening cash register at 9:09 p.m. shoving its contents into a plastic bag. Hands bag to customer. Sudden movement to the far left again as older male walks in the front door. Male begins screaming at customer. Male then lunges at customer. Customer moves out of way, bumping into another shelf and falling. Customer gets up quickly and slides out the door at 9:11 p.m. with bag in hand. Video recorder shifts back and focuses on female and male in the store, continues filming. Female picks up phone and dials while male gets up off the floor and runs out of the store.

Week 6: Magic and the Margins

            In the book, The Hearing Trumpet, it is obvious that there are magical aspects throughout the story as there is a continual presence of unrealistic objects, concepts and stories. In the beginning of the story, we learn about the main character, Marian, who is deaf. This handicap essentially causes her to view the world as being distant and strange as she cannot understand it in its entity. Due to the fact that she cannot completely communicate with the world around her, she is said to be senile by her family causing them to make the decision that she needs to go to an institution. This institution essentially creates and brings alive the theme of magic as it allows and helps Marian to partake on the process of evolving into a completely new person. With this, Marian herself seems to reflect an image of magic as we see her transgression throughout the entire novel in which she eventually seems to become some sort of witch or magical figure near the end.  

            Although Marian is already a unique character throughout the story for which she displays some sort of magical characteristics, I believe that not until towards the end of the story does her character portray her connection to the presence of profound magical beliefs and aspects. Throughout the story Marian wonders about the vacant tower and who lives there as her friend Christabel continually fosters the idea that knowing who lives there is an important thing to know while living in the institution. With not having much determination to learn about the tower throughout the novel, in the end, Marian decides that she now wants to find out the truth. With this, she begins thinking about the riddles that prevent her from discovering the truth for which she eventually deciphers thus giving her the ability to unlock the mystery behind who is living in the tower.

After Marian discloses her answers to Christabel, she is allowed into the tower and begins her decent down to the underworld. As she chooses to go down rather than up, it seems to allude to the idea that something profound is about to happen as this decision seems critical to Marian’s future. After descending down, she enters a chamber for which she lays eyes upon another woman who mimics almost the exact same physical characteristics as herself which implies that this other woman is another form of herself. With this, Marian explains that this form of herself seems to be wiser and more intelligent for which carries herself with ease. This explanation seems to suggest that this form of Marian may represent what Marian is about to transform into as the woman says, “You took a long time to get here. I was afraid you might never come.” (Carrington 172) I took this saying to suggest that Marian was always destined to be at this place and in this situation at some moment in time as the woman says she has been waiting for her. Furthermore, as Marian and the woman continue talking, the woman says that although in regards to terminology this place is considered hell, it is actually the “Womb of the World whence all things come.” This further implies the idea that Marian has finally reached her destination in which she will evolve into what she has been destined to become all along as this place is considered to be the spot where all things come and are thus created.

In thinking that this is the time when Marian will transform into some sort of magical figure seems even more reliable as she begins questioning who is actually real, herself or the woman. With this, something the woman says makes me believe that she is the new, magical form of Marian as she says, “Old as Moses, ugly as Seth, tough as a boot and no more sense than a skittle. However meat is scare so jump in” (Carrington 175). Considering this saying is very unusual and makes no sense, I believe that it may be a type of spell the woman is putting on Marian in order to start the transformation process to take place. This idea seems reliable as right after this, Marian is forced into a hot, boiling pot of stew for which a mighty rumbling sound followed by crashes consumes the place. After it goes quiet, Marian realizes that she has magically become an outsider looking in as she is not in the stew anymore but rather seems to be the one now stirring the pot of stew. This part was very confusing because of the fact that it is so unrealistic and strange making it difficult to decipher what actually just happened. Despite this, this part leads me to believe that some sort of magical thing just happened as moments before there was a conflict of who is the real Marian where as now it seems as if she has confirmed that she is actually the other woman.

The idea that Marian has transformed into something magical is even more reliable as she looks at herself in the mirror for which she sees a three-faced female as one face belongs to the Abbess and is black, one face mimics the Queen bee which is red and the third face who is of herself is white. This presence of colors seems to be very important to the transformation Marian just encountered as it reflects the theme of alchemy that is intertwined with the book. In learning that there are four stages in which someone undergoes while transgressing into something greater for which are represented by colors, it seems as if the presence of these colors ultimately do reflect Marian’s transformation into something greater. I gathered this idea from learning that black represents the stage in which the subject is confused and vague, red represents the stage in which the subject begins portraying clear signs that it is moving in the right direction of growth and that white represents the emerging product for which sheds confusion and vagueness. The fact that there are three different faces with three different colors further alludes to the idea that Marian has been unknowingly partaking on a transformation journey for which she has finally arrived at her destined form. I believe that she has arrived at the end of her journey because she sees her own face for which is white. This suggests that she has shed the confusion she has had throughout her life thus far and now is the product of the transformation process that has evolved her into the woman she was destined to always be.

The idea that Marian just finished her transgression into something greater is apparent even more as she says, “Ages seemed to have passed since somebody first hobbled down the steps, and now I was climbing to the upperworld as spry as a mountain goat. The darkness was no longer a hideous death trap where any moment I might be precipitated to my death” (Carrington 177). From this, it is apparent that Marian believes she has now transformed into a new person as well as she says “somebody” instead of I when she thinks back to her previous life before this occurrence. Also, it is obvious that she now sees herself as a new person as she feels like life has been bestowed within her again as darkness does not allude to the idea anymore that it can take her life from her at any time.  

In the end, although I am still not exactly sure what specific form Marian represents now in being that if it is something magical or supernatural, I do believe that she has transformed into something greater. In this, I believe that although Marian was forced into this institution by her family, this was always her destined path for which she would have arrived at no matter what.  

Week 5: Objects of Desire

In reading Dark Spring by Unica Zürn, it is obvious that the theme of eroticism is woven within the entire book as it takes over the main character, a young girl whose name is withheld. With this young girl being at the center of this story as she narrates the events, it is shocking that erotic behavior is associated with someone that in reality, should still be naïve. Over the course of the book, it is obvious that this young girl is exiting her childhood early and entering the adult world for which this erotic behavior consumes her as she continually has the desire to experiment with and test the sexual knowledge she is gaining throughout.  

            It is apparent throughout much of this story that this young girl is constantly experimenting with different sexual things as her imagination and quest for sexual knowledge drives her to find new ways to pleasure herself. Although it does seem a bit taboo for a young girl to be engaging in sexual pleasure at this age, it portrays the erotic theme as the quest for sexual pleasure consumes her life. As the young girl seeks out different ways to pleasure herself, these sexual encounters make the story at times very uncomfortable to read. With this, I prefer to not focus on the erotic scenes but rather find more interest in analyzing the fetish theme that is also prevalent throughout much of this book as it illustrates a different type of desire and quest for the young girl.

            Towards the end of the book, the young girl comes across a very attractive young man while swimming at the pool one day. In laying eyes upon him, she instantly becomes attached to him and develops a crazy fetish desire for which everything about him consumes her entirely. As she returns to the pool daily and idealizes him, her obsession for him only begins to grow which ultimately results in the emotional breakdown she experiences when she believes he may be sick and upon his death bed. In thinking this, she finds the courage to go and visit him at his home further illustrating the strange fetish she has for him as her actions during this encounter are very uncommon.

In reading this specific scene, it is obvious that the young girl’s first action greatly portrays her fetish for this man as she offers him a peach to eat for which after the young girl takes the leftover pit and places it in the pocket of her dress saying, “To remember you.” Considering the young girl wants to keep something as strange as a peach pit, shows that she will go to any means in order to savor this moment with the man she adores. Also, after she makes the comment that this will allow her to remember him, she begins thinking of all of the possible ways she can keep this memento with her forever as she thinks about drilling a hole in it to make a necklace as well as creating a drawer in her room that is specifically designated for him. Another action of hers that alludes to the fetish desire she has is when she asks, “Would it be possible for you to please give me just a single hair of yours?” At this point, it becomes obvious that her fondness for this man extends further beyond than just liking him as her desire for a piece of his hair illustrates her complete obsession with every aspect of him. Since right after asking this question she says that all of her happiness depends on whether or not he can give her a piece of his hair, shows that her life has now become devoted to him. The fact that she believes her happiness is dependent on this man’s existence alludes to the idea that her fetish with him has now evolved into something beyond normal as it has consumed her in every aspect such as emotionally, mentally and physically. This strange fetish is further depicted in this same encounter as she then asks him to give her a picture of him for which he abides and tells her to keep it a secret. Although it may not seem too uncommon for one to ask for a picture, her thoughts that are revealed after the fact portray the strangeness of it. It reading that she says, “Now I can die in peace,” is very interesting as it shows how her obsession for him has been the only reason as to why she believes she exists thus far while at the same time also foreshadowing her future as this fetish may play a part into deciding what her fate is.

As the young girl returns home, her obsession is further portrayed as she consumes herself with the mementos she received as she contemplates what she should do with her prized possessions. As she realizes it is important to hide her mementos, it is apparent that she wants to keep this a secret for which only the man and her share. As she puts the picture of him in her mouth and swallows it, her desire to keep this secret from everyone is what also may keep them connected. This idea is apparent as the text says, “Now she has united herself with him.” The fact that the young girl believes that by swallowing this man’s picture means they are united is very interesting as it may allude to the idea that she realizes this is perhaps the only way the two will ever be together. Also, as she contemplates what to do with his strand of hair for which she decides to seal in red sealing wax and then make a necklace out of, shows that she desperately depends on these possessions to keep her happy. With the young girl making a necklace out of his hair leads me to believe that by doing so, she may think that he will be closer to her heart when she partakes on the final step of her life.

With the final pages discussing the young girl’s suicide, it makes me believe that this decision results in part from her fetish desire and obsession with this man. Considering it is apparent that throughout the encounter with this man there are subtle hints that the girl’s life will end soon, I believe that her fetish for him may have been one of the direct catalysts into her decision to take her own life. Apart from the negative things that are happening in her life, it seems that now because the girl has met the man she idealized for a long time and has received prized possessions from him, she can die. I believe that she feels she can die now because the man was the only thing that seemed to have kept her going towards the end as her anticipation to meet him and be around him was what kept her desire to live alive.

Week 4: Surrealist Artist: Salvador Dalí

   

     In thinking about what Surrealist artist I wanted to do for this particular posting, I found myself gravitating towards choosing Salvador Dalí as I remember someone doing a presentation on him in the past for which I became very intrigued. Because of this, I thought that this would be the perfect time for me to explore Salvador Dalí myself and learn more about his life as a Surrealist artist while at the same time analyzing one of his most famous and widely known Surrealist paintings, The Persistence of Memory.

     In looking up some information about Salvador Dalí on the web, it became apparent that he was an artist that stemmed away from the typical artistic ideals as his art illustrated his own ideas, thoughts and opinions. With this, he was not a follower in regards to the Surrealist movement as he did not conform himself to one particular style but rather experimented with a wide range of different themes. His desire to create art that was in its own way captivating and compelling was seen through a wide spectrum of forms as he worked in all media which included paintings of oils and watercolors, drawings, graphics, sculptures, photographs, films, performance pieces, etc. (thedali.org). In realizing that he did not bind himself to being only one type of artist confirms that he was an artist who was constantly growing and evolving.
     Although Dalí experimented with many different styles and themes throughout his time as a Surrealist artist, one of the most reoccurring themes he explored was the subconscious mind through which the concept of dreams captivates and overtakes most of his art. In learning that when Dalí was a teenager he was fascinated with the ideals and concepts of Sigmund Freud, it became obvious that Freud seemed to have left a big impact on Dalí as he uses this subconscious concept throughout most of the pieces of his work (simplycharly). Although Freud played a substantial role in how Dalí became an artist, Dalí was also heavily influenced by the works of Paris Surrealists who were also in touch with the subconscious mind as they tended to paint images that did not have a direct, definitive purpose (simplycharly). With this, Dalí as well as these Surrealist artists did not hide the fact that much of the imagery found in this art came directly from hallucinations as drugs and dreams were usually the driving forces behind these unusual statements (simplycharly). Overall, it is apparent that despite Dalí’s desire to not be a conformist in Surrealistic art, he did use a theme that was prevalent throughout this movement which gave him the ability to go beyond his limits and create one of the most famous paintings of all time.
     In looking up information about the painting The Persistence of Memory or also known as La Persistencia de la Memoria, it became obvious as to why this particular painting is so famous. When I first came across this painting, I became captivated right away through its unique formation of strange objects on the canvas as well as the randomness of the entire scenery in general. Although it may be deceiving to some people, I found this particular painting intriguing as it highlights the subconscious style Dalí liked to use. In learning that this particular painting is oil on canvas, it is obvious that the intense colors used and the shading of the objects are features that help to emphasize the strange objects that are at the focal point of the painting.
     It is obvious that there are several different forms of timepieces in the picture as there are three clocks and a pocket watch in the foreground. The interesting part about these figures of time though is that they are in an unusual form as they seem to be melting, drooping and folding in ways that one would not ever see in the real world. For example, one clock is melting away on a tree branch while the other two seem to be melting on unfamiliar objects. With having these objects melting, it contradicts the everyday experience as in reality they would be firm and solid. From this, it alludes to the idea that Dalí is connecting these timepieces to the subconscious, dreamlike state of mind (simplycharly). In regards to this concept Dalí may be portraying the idea that time is irrelevant in the subconscious state of mind where dreams overrule time’s importance (thedaliorg). Along with this idea, it is interesting that there is one watch out of the four that seems to be completely normal as it is not deformed in any way. Even though it appears to be normal, it still has an interesting aspect to it as it is covered in red ants perhaps alluding to the idea that these ants are taking over and destroying it. This could suggest that in the subconscious state, time can decay or die as well (simplycharly). In the end, it seems as if Dalí may have purposely deformed these timepieces in order to captivate the irrelevance of time that exists during sleep as “when we one is asleep, or not conscious, the time does not persist, only memories do” (authenticsociety).
     Although the timepieces are the focal points in the foreground of this painting, there is another object that captivates the viewer’s eyes. In the middle of the painting there is a strange figure lying on its side for which has the same melting characteristic as the watches. Although it is difficult to interpret what the figure is, at first glance it looks like a distorted human face. It appears to be a face because there seems to be long eyelashes, one eyebrow and a nose on the left side of it which suggests that it is only the half of someone’s face. Although I am not entirely sure whose face it may be, it connects to the overall subconscious theme that is present in this painting as this object is very strange and would not be seen in reality but rather in a dream.
     Another interesting aspect of this painting is the interesting choice for a background as it seems to be contradicting the foreground. Considering the foreground seems to depict the subconscious state as there are very strange deformed objects, the background is completely opposite as it portrays what one would see in reality. The background seems to be of a surreal place as there is a beach that has cliffs adorning its side. In learning that Dalí grew up in Catalonia, Spain along its beaches, I began thinking that this peculiar background may mimic the type of picturesque landscape Dalí constantly saw when he grew up as many of his works are known to share this similar aspect (thedaliorg). Whatever his motives may be for choosing this particular background, it seems to compare the familiar and the unfamiliar as the later is a result of the subconscious state of mind that evokes unique and strange images one would normally not see.
     Overall, this particular painting seems to captivate the conflicting sides of reality that Salvador Dalí tended to focus on while creating pieces of art. The fact that Dalí creates a very untraditional painting that produces an uncomfortable feeling for the viewer only confirms that he was not bounded to or limited to following a specific theme or style. Although many different interpretations can be made about this painting, it is obvious that Dalí created a very fascinating and unique painting that portrays his confidence as an artist to create something that is unlike the rest.

Sources Used:

http://www.authenticsociety.com/about/ThePersistenceOfMemory_Dali

http://simplycharly.wetpaint.com/page/Analysis+of+The+Persistence+of+Memory+by+Salvador+Dali

http://www.dali-gallery.com/html/analyses/1931_06a.htm

http://thedali.org/history/biography.html

Project #1: Generative Systems and SPAM Texts- Final (after corrections)

Dear loving wife,
     You have my love which does not form meaning. So, this is my letter d' affection to this spouse of the spouse for which I hope to prove my love. You always look like a million buckaroos. You are as dazzling as a pregnant cow attired in electrical sockets. You are more beautiful than a bouquet of fossils Madam! Timepieces could not even know your age. In your presence even my shadow can acquire the sensation of touch.
     Your head! So precisely, fits into the smallest of diameters. Your face is like a perfectly shaven tennis ball that can bend even the most anorexic mirror into a sensuous state of muscular spasms. Your hair sends forth a sheen image of a wounded man streaming about bronze bandage gauze from the highest church steeple. I cry for the softness of your earlobes. May this divine pair of lobes ever flap about my neck like a thousand wooden pigeons fleeing the local sawmill. You wear your ears well, true to the testament of loose fitting flesh.
     Your eyes! How can I help but use your eyes as a means for self-asphyxiation? They glow like naked blueberries burning in the sun as many deep and full shades of blue as a healing bruise upon an injured forelimb can show. Your eyes are like spheres of transparent glue filled with shimmering skies. Your extensive, protruding eyelashes foster my libido into a state of disbelief for Roman Catholicism. These eyelashes would certainly compel even a wayward band of masticating cod into a feverish frenzy. Your eyebrows atop these eyelashes are as verdantly forested as the woodworms of my most somber dreams.
     Your mouth! Is as incredibly soft as liquid being poured from an aquamarine vase of solidifying flesh. This mouth makes my head beat faster and my heart pound slower. Your enormous crimson lips I wish to kiss every third Monday of the month. The froth of hair streaming above your lips is a sublime mustache as it resembles the ocean's white foam. So charmingly perfect, the perspiration on your upper lip is like a teardrop on a popsicle.
     Your body! Oh how it inflicts me with wounds of paranoia and desire. Just fighting for the liberty to touch you is nothing ever scientifically explored before. Your seduction avoids extinction. If you were a camel your humps would be esoterically bald from overuse. In your mere presence not even a battalion of lawyers could pass the New York State driving exam. How long must I suffer and deal with your perpetual undergarments?
     Your intelligence! It can ferment meat without the need of oxygen. The expanse of your intelligence is so large no universe could ever fill. It can attain the grand summation of molecular motion at absolute zero. Your spark of intelligence can be seen in your blinking eyes and is like the glow visible from the teeth of an electrocuted axe-murderess. Even beauty and grace are perplexed in contemplating your multidimensional brilliance.
     My sweet woman who I may only temporarily love, I have excreted my thoughts and my desires for you in this confession. My love for you is strangely distinct. If I were to combine your blood, toes, and hair, it might not be you, but it would be enough for my basic desires.

                            Sincerely,
                            A spouse that has sacrificed his sanity

Blog Post #3: Poets, Performance and Identity: Louis Aragon

I'll Reinvent the Rose for You: Louis Aragon

I’ll reinvent the rose for you
For you are that rose which cannot be described
These few words at least in the order proper to her ritual
That rose which only words distant from roses can describe
The way it is with the ecstatic cry and the terrible sadness which it translates
From the stars of pleaure above love’s deep abyss
I will reinvent for youth rose of adoring fingers
Which create a nave as they interlace but whose petals then suddenly fall away
I will reinvent for you the rose beneath the balconies
Of lovers whose only beds are their arms

The rose at the heart of sculpted stone figures dead without benefit of confession
The rose of a peasant blown to bits by a landmine in his field
The scarlet scent of a letter that has been “discovered”
In which nothing’s addressed to me neither the insult nor the compliment

Some rendezvous to which no one has come

An entire army in flight on a very windy day

A maternal footstep before prison-gates

A man’s song at siesta-time beneath the olive trees

A cock-fight in a mist-enshrouded countryside
The rose of a soldier cut off from his own home country

I’ll reinvent for you my rose as many roses
As there are diamonds in the waters of the seas
As there are past centuries adrift in the dust of the earth’s atmosphere
As there are dreams in just one childish head

As there can be reflections in one tear

           

          In looking up some Surrealist poets on the web, I decided that it would be interesting to focus on Louis Aragon and one of his specific poems. Upon looking up information about Aragon, I learned that he was introduced to the avant-garde movements of Dadaism first and then Surrealism second through André Breton. In eventually working with Breton and then Philippe Soupault, the three founded the Surrealist review Littérature (kirjasto). This particular magazine scorned all of the bourgeois values that many intellectuals saw destroyed by the horrors of war (kirjasto). With this, many of Aragon’s earlier collections of poems portray the beliefs of Dadaism in that it is necessary to critique and destroy traditional institutions and values (kirjasto). Apart from these Dadaist views, Aragon began portraying characteristics of the Surrealists in many of his later pieces of art as this movement began to take over when André Breton came to the forefront. Surrealism was influenced by the psychoanalytic theories of Sigmund Freud for which had the purpose to create artistic works that highlighted spontaneous outburst from the unconscious mind (kirjasto). These spontaneous outbursts were a means to purposely bypass the normative and conditioned modes that modern society imposes on individuals and instead focus on and show the real, strange persona of someone (kirjasto). Along with working with these unconscious outbursts, Surrealist artists often focused on dreams in their pieces of work as they, “focused on visual imagery from the subconscious mind to create art without the intention of logical comprehensibility” (Surrealism.org).With this, it is obvious that Surrealism extended beyond the means and goals of Dadaism in the sense that it did not seem to focus on critiquing modern’s society issues but rather to create a new form of art that went against the traditional normative standards as its desire to stand out was apparent.

In looking up information about Louis Aragon as a Surrealist poet, it was insightful to learn about his life as an artist when I began analyzing a specific poem of his called, I’ll Reinvent the Rose for You. In learning that he worked with Surrealist artists such as the founder André Breton, I thought that this would influence almost every piece of work he created from that point on. In reality though, it seems that most of Aragon’s work that has been translated into English are pieces that do not really reflect any Surrealism influences but rather highlight aspects of the war or the political movements taking place at the time. Because of this, I chose this particular poem because I liked it and thought it depicted love and the sacrifices one would make for someone they love in a new and unique way. In first glancing over this poem I thought it would be somewhat easy to interpret as its language was very normal and the words were not too complicated. Considering I tend to enjoy poems that are not too far out there but rather have a general theme that is conveyed through great imagery and metaphors, I thought that this poem would work well for me.

In looking at the first stanza, it seems as if there is a specific topic, a rose, for which Aragon uses as the focal point for how the rest of the poem unravels. Although I am not sure whether or not the rose does actually signify a rose, I believe that it is a metaphor for something else. It seems as if the rose acts as a signifier for something that is much more complex as this word is used throughout the entire poem. With this, I believe that the rose is a metaphor for love and the narrator uses it as a means to show his feelings and emotions to someone specific. I interpreted this from the first two lines, ‘I’ll reinvent the rose for you/For you are that rose which cannot be described’ as these lines seem to imply that the intentional audience, most likely a woman, is so important to this narrator that he has a desire to reinvent love in order to prove to her that she means the world to him and deserves the best. Throughout this first stanza, the narrator seems to use imagery by having different descriptions of how he wants to show his love. This is apparent especially in the last two lines, “I will reinvent for you the rose beneath the balconies/Of lovers whose only beds are their arms.” I interpreted from these two lines that the narrator is relating his love to the scenes of Shakespeare’s Romeo and Juliet as he wants to reinvent the love that was seen when Romeo confessed his love and desire for Juliet beneath her balcony. It seems that the narrator is using imagery here as he is citing a specific instance such as this traditional love story in order to help portray his love as he hopes to change what love is so that it becomes more special to the woman he loves.

 In the second stanza of this poem, the narrator seems to make a drastic change in regards to tone as he begins discussing the ways in which a rose, or love, can die. This part was very confusing to me as the poem’s tone seemed to switch from being upbeat and optimistic to now having a pessimistic view on love and its effects on someone who is in love but may not be able to express it or feel it in return. This pessimistic view was seen through the lines, “The rose at the heart of sculpted stone figures dead without benefit of confession/The rose of a peasant blown to bits by a landmine in his field.” I thought that at this particular point in the poem, the idea that love is not permanent is portrayed as the first line seems to depict that a rose, or love, can die very easily if someone does not show their real feelings and desires. This was apparent even more through the specific phrase ‘dead without benefit of confession’ as it confirms that love will unfortunately die if one is incapable of confessing their feelings outwardly. This death of love is seen again in the following line as it portrays an example of where love dies as it mentions a peasant whose love is blown to bits by a landmine. I interpreted that the word landmine is used metaphorically here to represent something else that prevented the peasant from being able to show his true love which in turn resulted in the death of it. Overall, this particular stanza seems to purposely attest to and question the previous heartfelt, optimistic stanza in order to prove that love can die so easily if it is not handled with care.

In the final stanza, the tone seems to switch back to the happy, optimistic, perspective on love that was apparent in the first stanza. It seems that this final stanza seems to confirm what the narrator has been alluding to all along in regards to his constant questioning of how to transform love. It seems to imply that although love may be difficult, it is always worth it in the end if it is treated properly. I interpreted this perspective from the fact that every line in this stanza seems to discuss a positive aspect of love that contradicts the negative aspects of love seen in the middle of the poem. The three lines that eluded to this idea the most were, “As there are diamonds in the waters of the seas/As there are past centuries adrift in the dust of the earth’s atmosphere/As there are dreams in just one childish head.” These three lines seem to highlight the idea that no matter what, love is always able to exist in any form and in any way for anyone. This idea that love can exist in any way is seen through the narrator’s discussion of unimaginable aspects that still seem to exist such as it being possible to find diamonds in the water. Also, the fact that it alludes to the idea that something as simple as dust can actually be very complex and meaningful confirms that even though love may seem simple in itself, there is much more to it. Also, the fact that this final stanza has the opening line of “I’ll reinvent for you my rose as many roses” confirms that although the narrator has contemplated abandoning love, he will continue his search of trying to reinvent love so that it forms its own special meaning to him and the woman he loves.

Overall, I think my interpretations of this poem may be a complete stretch as well as completely wrong as it was difficult to try and break down this poem to see what its actual meaning is. Even though I did not expect this poem to contain many obvious aspects of Dadaism and Surrealism, I was surprised to find that nothing in this poem seemed to be influenced or related to either of these two movements. With this, I believe that Aragon did not have the intention of creating this poem to highlight ideas from these movements but rather just wanted to write a love poem to his wife Elsa Triolet as he was known to have written many poems to her. In the end, it is obvious that despite Louis Aragon being a Surrealist poet, this particular poem does not reflect any direct influences or aspects of Surrealism and instead seems to just be a love poem that explored love through a new way.

Sources Used:

http://kirjasto.sci.fi/aragon.htm

http://www.surrealism.org/

Project #1- Reflection

     When I first started thinking about this assignment, I realized that I wanted to write some type of love letter from a man to his wife. I wanted this letter to be a husband expressing what he thinks about and what he feels for his wife through strange descriptions. With this, I thought that a country song would be a good place to start as these lyrics tend to talk about love or about the feelings someone has for someone else. With this, I decided to copy lyrics from one of my favorite country songs into the Babel fish text translator in hopes that translating it from English to other languages and then back to English, would reform it into an interesting yet compelling text. Unfortunately, after translating this text a couple times between languages, it resulted in a bunch of words thrown together that were almost impossible to work with.  In having these difficulties with using the translator, I decided to look at each of the different websites that were recommended on the D2L website.
     With this, I began exploring each of the websites in hopes that I would find any words or phrases that would stick out to me. Throughout this search process, I was looking for particular phrases that would make sense in a love letter but would be different and unique at the same time. I was purposely looking for strange phrases that still described one’s feelings towards another as I wanted this letter to be a new twist on the traditional and typical formal love letter one would see. From this, the website that was the most helpful in generating strange sayings that still made sense was the www.madsci.org website. I found a bulk of my phrases and words from this website as a majority of the randomly generated sayings began with the word your. Considering I had intentions of making a letter that was directed at one particular person, these sayings were perfect for the direction I was going in. Although most of these phrases were very good from the beginning, it was necessary to alter them so that they would make sense and portray the overall purpose of the letter. With this, I copy and pasted what phrases I wanted to work with and then altered them by adding new words or reforming the phrase by changing the order of the words. In this editing process, I found myself using www.dictionary.com a lot as many of the words generated on this website were unfamiliar to me. In finding out what the definitions of these new words were, I would then decide if they were appropriate to use in the letter and if they would make the letter flow correctly. If the words did not really seem to work with where I was trying to go, then I would look for other words that would convey the message better while at the same time adding to the overall weirdness of the letter.   
     Overall, I found the editing process of the random generated phrases from the website the most difficult part in writing this letter as it was very frustrating trying to make completely random phrases work together to covey a meaning. I found myself constantly reediting certain parts as I was trying to create the perfect flow from sentence to sentence in order for the letter to still make sense to the reader despite the weirdness of it. In the end, I think I did a good job of reworking and changing the random phrases I came upon as the end result is a love letter that portrays a man’s feelings and desires about his wife through very descriptive and strange sayings.

Project #1: Generative Systems and SPAM Texts

Dear loving wife,
     You have my love which does not form any meaning. So, this is my letter d' affection to this spouse of the spouse for which I hope to prove my love. You always look like a million buckaroos. You are as dazzling as a pregnant cow attired in electrical sockets. You are more beautiful than a bouquet of fossils Madam! Timepieces could not even know your age. Oh how you move with the eloquence of disintegrating fuselage. In your presence even my shadow can acquire the sensation of touch.

     Your head! So precisely, fits into the smallest of diameters and portrays the most beautiful, sublime features of the twentieth century. Your face is like a perfectly shaven tennis ball that can bend even the most anorexic mirror into a sensuous state of muscular spasms. Your hair that sits upon that sweet face sends forth a sheen image of a wounded man streaming about bronze bandage gauze from the highest church steeple. I cry for the softness of your earlobes that adorn each side of your face. These succulent earlobes can make even turtles fall and the rain to stand still. May this divine pair of lobes ever flap about my neck like a thousand wooden pigeons fleeing the local sawmill. You wear your ears well honey, true to the testament of loose fitting flesh.

     Your eyes! How can I help but use your eyes as a means for self-asphyxiation? They glow like naked blueberries burning in the sun as many deep and full shades of blue as a healing bruise upon an injured forelimb can show. Your eyes are like spheres of transparent glue filled with shimmering skies. Your extensive, protruding eyelashes foster my libido into a state of disbelief for Roman Catholicism. These eyelashes would certainly compel even a wayward band of masticating cod into a feverish frenzy. Your eyebrows that sit atop these eyelashes are as verdantly forested as the woodworms of my most somber dreams. Even your sweet, bountiful tears evoke a taste as memorable as honey. I love your eyes my love, especially with ketchup.

     Your mouth! Is as incredibly soft as liquid being poured from an aquamarine vase of solidifying flesh. This unreachable mouth makes my head beat faster and my heart pound slower. Oh how your enormous crimson lips accent the sun! I wish to kiss these lips every third Monday of the month. I relentlessly desire your custard tongue hidden beneath to force itself out and slide in between my eyelids. And I cannot help but notice how the ocean's white foam resembles the froth of hair streaming above your lips. So madam, you wear a moustache quite well. So charmingly perfect, the perspiration on your upper lip is like a teardrop on a popsicle. Even a kitten's growl could surpass the plights of your spoken, soft voice when it exits this dainty mouth.

     Your body! Oh how it inflicts me with wounds of paranoia and desire. Your body and its curvy symmetrical features are certain of my wishes. Just fighting for the liberty to touch you is nothing ever scientifically explored before. Your seduction avoids extinction. If you were a camel your humps would be esoterically bald from overuse. In your mere presence not even a battalion of lawyers could pass the New York State driving exam. I fascinate myself with your body but in your absence, I find other forms of amusement. How long must I suffer and deal with your perpetual undergarments?

     Your intelligence! It can ferment meat without the need of oxygen. The expanse of your intelligence is so large no universe could ever fill. It can attain the grand summation of molecular motion at absolute zero. Your spark of intelligence can be seen in your blinking eyes and is like the glow visible from the teeth of an electrocuted axe-murderess. Even beauty and grace are perplexed in contemplating your multidimensional brilliance. May you always be as vivid and bright as your illicit hallucinations darling. Your intelligence is equal to the smoothness of a walnut shell.

     My sweet woman who I may only temporarily love, I have excreted my thoughts and my desires for you in this confession. My love for you is strangely distinct. If I were to combine your blood, toes, and hair, it might not be you, but it would be enough for my basic desires.



                                            Sincerely,

                                             A spouse that has sacrificed his sanity

The Bleeding-Heart Dove and the Fountain by Guillaume Apollinaire- Analysis

Since we did not discuss Guillaume Apollinaire's Calligrams in depth this past week, I was interested in analyzing one of the poems from this specific collection. My favorite poem from this collection of poems of Peace and War was The Bleeding-Heart Dove and the Fountain. When I first came across this poem, I was fascinated with how the words and phrases were structured in a way that formed an image. With seeing this new artistic technique, I researched Guillaume Apollinaire in order to get a better understanding of what provoked him to become a Dada artist. With this, I learned that he had joined the French army to defend his adopted country in World War I where he later fought directly on the front lines (poetry foundation). The fact that he joined the army led me to believe that when he created this collection of Calligrams, he may have had mixed feelings about war as even the title for this collection has two contradicting aspects, peace and war. He may have been two sided with the war because even though Dada and its artists stemmed from anti-war ideologies, he may have had the desire to fight for his country since he alone could not prevent war from happening. No matter what his feelings and opinions may have been though, the overall tone in this collection is that war is something detrimental as it induces immense suffering and emotional turmoil for everyone.

It is apparent when looking at this collection that Apollinaire’s intentions were to create each of these poems in a new, unique way that would captivate the audience as the form, content and context for these poems are very different from other traditional forms of art. Although each specific poem in this collection is very unique and distinct in its own way, the method that Apollinaire used was universal as every page became a canvas for experimentation in which he created new, spatial relationships in order to give the reader the opportunity to see the poem through multiple ways (Words and eggs). When comparing all of the poems, it is obvious that none of them share the same visual structure and instead have their own form for which creates their own image. This format is described as, “Apollinaire incorporated words, letters and phrases into complex visual collages” (Words and eggs). Through this unique, visual formation of verses and lines it is obvious that Apollinaire abandons the traditional and familiar way to read a poem. In the end, this format used by Apollinaire created unique images that are the main focal point for each poem and give the reader an opportunity to use their imagination for how they want to interpret it.

            In this particular poem, The Bleeding-Heart Dove and the Fountain, one can easily see this experimental form Apollinaire played with. From looking at this poem, the reader can see an image of a dove that seems to be flying atop a fountain that spews out water. Along with this image, this poem can be read and interpreted differently due to how the stanzas and verses are structured. In the middle stanza, there is no clear cut linear formation where every line distinctively moves from left to right across the page. Rather, there seems to be a vertical line that forms down the middle of each horizontal line as it acts as the center of the fountain. From this, it is evident that each horizontal line eventually curves down as it reaches the vertical line. On the opposite side of this vertical line, the second part of the line then either curves up or down, making it difficult to determine what the second part of the line is. For example, the line that begins with ‘With melancholy dies,’ can be interpreted to end with the line ‘Perhaps already dead.’ Or, it can be interpreted that the ending word ‘dies’ can split off into the word die and then connect upwards to the phrase ‘Like footsteps in a cathedral.’ The fact that there is no clear cut distinction of how to exactly read the poem from line to line shows Apollinaire’s intentions for the reader to be able to decide how they want to read the poem.

Another unique form technique that is evident in this particular poem is that there are different sized words and letters as well as only some letters are bolded. The fact that some letters are larger in size and bolded such as the letter D in the first stanza, the question mark in the second stanza and the letter O in the final stanza, depicts this unique and unconventional format style Apollinaire liked to use. Although I am not sure why some letters are bolded and larger, why some words are all capitalized, or why some phrases are larger, I believe that this was just another way to make the image more appealing to the reader. Overall, it is difficult to determine what the exact structure for this poem is as well as how it should be read which seems to mimic what Apollinaire had hoped for all along.

Like the format, the content and context for this poem are also unique as Apollinaire stems away from traditional phrases as he comes up with his own description for objects and emotions. I interpreted from the three stanzas that this poem is about war and its effects on everyone. As the first stanza begins with the line ‘Gentle faces stabbed,’ and then goes on to mention the names of young girls, suggests that these girls have been negatively affected by war as this context implies that their delicate faces once evoked happiness but now have been stabbed with fear. Towards the end of this stanza as it says, ‘BUT near a fountain that weeps and prays this dove is enraptured’ it seems as if fountain is used as a metaphor for a human being as it is described as weeping and praying. The fact that the fountain is weeping and praying alludes to the idea that it weeps out of sorrow for what the war has done and the negative impacts it has left on everyone.

  The second stanza seems to have the same emotional tone as the first stanza as the first line questions where three boys have gone and then answers this question in the following line as it says ‘Oh my friends who have gone to war whose names melancholize.’ Through this context and the use of the word melancholize, I interpreted that the narrator is in a depressive state because of the war that has taken the life of his beloved friends whose name’s still appear and hover in his mind. Towards the end of this stanza, the lines ‘My soul is full of memories/Derain with eyes gray as the dawn fountain weep for my sorrow,’ seem to allude to the fountain metaphor again as the fountain weeps for the narrator’s sorrow. This context implies that the narrator’s soul and mind is full of memories from the war for which have left an ever-lasting emotional strain on him and now the fountain is crying out for him in response.

The final stanza seems to sum up the narrator’s feelings through an ending note that does not seem to be very positive. It says, ‘Evening falls O bloody sea/Gardens where rose-laurel warlike flower bleeds in abundance.’ The context of these two lines leads me to believe that this is a description of the battle grounds of war for which at the end of the day there lies soldiers in their own blood. It alludes to the idea that these rose-laurel flowers will eventually grow in place of where these dead soldiers once lay as they will grow from their blood and will bleed their blood in abundance. In reading this final stanza, I interpreted that the narrator does not really have any hope for the future of his country as men will continue to die and lay in their own blood if war continues to exist. Overall, the context of this final stanza seems to sum up the content in the entire poem as the words and phrases that are used seem to portray the harsh realities of war and how those who fought will die and those who are left behind are left in their shadows and will continually to suffer.  

Sources Used:

http://www.poetryfoundation.org/bio/guillaume-apollinaire

http://wordsandeggs.wordpress.com/2008/10/27/apollinaires-calligrammes/