The mathematics itself suggest a movement in which everything, in which any particular element of space may have a field which unfolds into the whole and the whole enfolds into it. So you have this movement, and I call this the implicate or enfolded order which unfolds into the explicate order where everything is separate. now the implicate order, everything is internally related to everything. Everything contains everything.
Bohm, David. Wijers, Louwrien. Art Meets Science and Spirituality in a Changing Economy – Pt. 1 – From Fragmentation to Wholeness, 1999. (film of panel discussion. “This film, part one of the series, features the Dalai Lama speaking on the nature of mind and on his personal feelings as leader of the Tibetans in exile, the physicist David Bohm, who explains his theory of the “implicate order”; and interviews with artist Robert Rauschenberg and Russian economist Stanislav Menshikov.”)
The spiral is a spiritualized circle. In the spiral form, the circle, uncoiled, unwound, has ceased to be vicious; it has been set free. I thought this up when I was a schoolboy, and I also discovered that Hegel’s triadic series (so popular in old Russia) expressed merely the essential spirality of all things in relation to time. Twirl follows twirl, and every synthesis is the thesis of the next series. If we consider the simplest spiral, three series may be distinguished in it, corresponding to those of the triad: We can call “thetic” the small curve or arc that initiates the convolution centrally; “antithetic” the larger arc that faces the first in the process of continuing it; and “synthetic” the still ampler arc that continues the second while following the first along the outer side. And so on.
Nabokov, Vladimir, Speak Memory, 275.
The constellation is the simplest possible kind of configuration in poetry which has for its basic unit the word, it encloses a group of words as if it were drawing stars together to form a cluster.
The constellation is an arrangement, and at the same time a play-area of fixed dimensions.
The constellation is ordered by the poet. He determines the play-area, the field or force and suggests its possibilities. the reader, the new reader, grasps the idea of play, and joins in.
In the constellation something is brought into the world. It is a reality in itself and not a poem about something or other. The constellation is an invitation.
Gomringer, Eugen in Concrete Poetry: A World View. Ed. Solt, Mary Ellen. Bloomington, IN: Indiana University Press, 1968.
That this text is designed to interpolate itself into emptiness/silence—to let emptiness/silence in—gives it remarkable breath: possibilities of in- and exhalation to writer and reader alike. I’d like to suggest that it is a woman’s feminine text (denying any redundancy) that implicitly acknowledges/creates the possibility of other/additional/simultaneous texts. This is a model significantly different from Bloom’s competitive “anxiety of influence.” It opens up a distinction between the need to imprint/impress one’s mark (image) on the other and an invitation to the others discourse as necessary to an always collaborative making of meaning. Collaboration with the reader is unnecessary only when meaning is being reported rather than made.
Retallack, Joan. The Poethical Wager. Berkeley: University of California Press, 2003. 125.
If poethics is a lived pattern of conscious and unconscious values, its contested habits of being are performed in literature as lettristic-phonemic practices. These ventures foreground the parts of our human agency exercised by means of configuring words—words that incorporate and transform experiences of mind, society, and nature at increasingly busy linguistic intersections. Poetry, as chronically blurred genre, can demonstrate just how busy by operating simultaneously from multiple perspectives, in multiple dimensions, in multiple languages that draw on the inherent ambiguities, cross-references, polyglot intercultural vectors of all languages in today’s electronically intimate world. Poetry, particularly authentically contemporary poetry (that which could only have been written in its own time), is polyglossia in motion. The poethics that comes out of the postmodern crisis is in programmatic dissonance with simplistic thinking and ideals of purity.
Retallack, Joan. The Poethical Wager. Berkeley: University of California Press, 2003. 104.
The problem is no longer getting people to express themselves, but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.
Deleuze, Gilles. Negotiations. New York: Columbia University Press, 1997.
People who talk about revolution and class struggle without referring explicitly to everyday life, without understanding what is subversive about love and what is positive in the refusal of constraints, such people have corpses in their mouths.
Vaneigem, Raoul. The Revolution of Everyday Life. Trans., Donald Nicholson-Smith. London: Left Bank Books and Rebel Press, 1983. 15.