In lieu of an abstract, here is a brief excerpt of the content:

four characters, which can be readily observed by stepping into the room and giving the installation the amount of time one would give a painting. Elective AfJiriitieshas been shown at the Yerba Buena Center for the Arts in San Francisco and at the Williamson Gallery at the Art Center in Pasadena. It was shown in Copenhagen in 1996 at the Danish Film Institute and in 1998 will be part of a show of portraits organized byJasia Reichardt at the National Portrait Gallery in London. Note 1. Elective Ajjitiities riiiis o i l four iietrvorked Mac Quadra 660s controlling four Pioneer 8000 laserdisc players. The prograin was written in Hypertalk by P;id Tompkiiis a i d Sara Roberts, with additional programming and engineering by Pallc Henckel. THE MIND AS POEM: A LZFE SET FOR TWO Robert Kendall, New School for Social Research, 1800White Oak Dr., Menlo Park, CA 94025, U.S.A.E-mail: . Language arises through a process of refinement. The raw materials of mental activity, the thoughts that well up in the brain, are distilled into words so we can communicate, record and analyze them. There is inevitably something lost in the refining process , however-namely, that which “can’tbe put into words.” Poetry is an attempt to put back some of the natural psychological fiber that is normally sacrificed when language is made. Literal signification is replaced by metaphor and implication. Words are chosen not for their aptness as labels but for the way they resonate in dimmer regions of the psyche. The meaning door is left open for a better chance at glimpsing the flickering intangibles that are felt rather than known. Like any poem struggling to get back to preverbal basics, my electronic poem A Lzyc Setfor Two [l] (Fig. 2) dwells in the realm of the figurative-but not just through figures of speech. It taps the multiple layers of symbolic language underlying computer software, the electronic tropes behind the virtualities of interface and process that glow on the screen. The reader’s interaction with the poem and its own predefined algorithms combine to create a malleable text that changes with each reading. Fig. 2. Robert Kendall, a screen from the electronicpoem A Life Setfor Two. The metaphorical workings of computer code are of course different from those of the English language. It is precisely these differences that give the former their uncanny poetic depth. Binary code structures bear a greater similarity to the neurological instruction sets for producing thought than they do to the language that is the product of that thought. These mental codes buried in the depths of the psyche create the psychological impetuses and tensions at the root of personality . What little they reveal of themselves to the conscious mind through their workings indicates a remarkable complexity and beauty-a low-level poetry in its own right. A Life tries to reflect a little of the brain’s poetry of procedure and input handling and to unite this with the poetry of text. In the workings of the program itself I hope to capture something of the psychological makeup of the poem’s speaker, a man ruminating upon botched love. Images and thoughts of this man’s ex-lover still rattle around loose in his brain, reluctant to resolve themselves into a merciful closure that might dissipate their power over him. It is in this volatile form that the reader encounters these reminiscences-as discrete textual moments that present themselves in no fixed order and with no fixed content, transforming themselves in response to differentjuxtapositions.In this way the reader seems to glimpse the randomaccess mechanism of memory trying to get a grip on its slippery holdings. These remnants from the character’s past are inseparable from the conflicting feelings they arouse in him. They cannot be viewed in any objective light but only as illuminated by the shifting gels of ambivalence. Some images are pushed into the shadows at the back of his mind where they loom invisibly and then emerge to cast their own shadows on everything that passes through his head. The script for this neural play of color and shadow is embedded in the software of...

pdf

Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 190-191
Launched on MUSE
2017-01-04
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.