Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.
Dana GioiaRelated topics
art attention beyond burden carry esoteric example expressive form gentle involvement keeping language meter needs second sound speech state syntax technique texture trance typography wayRelated quotes
Japan had come to terms with Russia because of her difficulties, but this did not mean approval of communism. Communism meant the end of emperor-worship, and feudalism and the exploitation of the masses by the ruling class, and indeed almost everything that the existing order stood for... But communism is the outcome of widespread misery due to social conditions, and unless these conditions are improved, mere repression can be no remedy. There is a terrible misery in Japan at present. The peasantry, as in China and India, are crushed under a tremendous burden of debt. Taxation, especially because of heavy military expenditure and war needs, is very heavy. Reports come of starving peasants trying to live on grass and roots, and of selling even their children. The middle classes are also in a bad way owing to unemployment and suicides have increased.
Jawaharlal Nehru
Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words-so, for an exercise, look about your environment. Make up new, different 'words' for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before. The new word will fit as much as the old one did. It may, in fact, fit better. Do this with many objects, following the same procedure. You can instead say the name of any object backwards. In such ways you break up to some extent the automatic patterning of familiar phrases, so that you can perceive the individuality that is within each object.
Robert Butts
As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations... for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship... (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro and Dubuffet have also pitched their tents on this borderline and constantly travel from one side tot the other.
Michel Seuphor
I decided to take a calligraphy class to learn [the art of decorative or hand lettering]. I learned about serif and sans-serif typefaces, about varying the space between different letter combinations, about what makes great typography great. It was beautiful. Historical. Artistically subtle in a way that science can't capture. And I found it fascinating. None of this had any hope of any practical application in my life. But 10 years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would never have multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them.
Steve Jobs
Ancient scriptures tell us that man is more than the physical body. In fact, we have two bodies: the physical and the astral, or subtle. But we are the soul! According to the ancient Vedic scriptures of India, the size of the soul is 1/10,000 the tip of a strand of hair. It is located in the heart region and is the actual life force. The physical, as well as the astral or subtle body, acts as a covering or costume that the soul wears in its journey throughout the material sphere. As we pass from costume to costume or from body to body through the process known as reincarnation, the impressions of previous lives imprint themselves on the subtle body and are carried with us during each lifetime. In the dream state, activity in the subtle body becomes more dominant than activity in the physical body. Our dream experiences are often impressions accumulated from many lifetimes.
Bhakti Tirtha Swami