sw00429xdspny-math.poetics

Cross-Disciplinary       xdspny


   Magic numbers for the natural number summation sequence are
always even numbers, always relate to two odd or two even nnss
terms, and always are numbers which are equidistant from (at the
midpoint between) nnss terms.  Therefore, if a termposition is a
positive odd whole number (pown), the nnss pair which can be
generated from it will always be odd; likewise, if a temposition is
a positive even whole number (pewn), the nnss pair which can be
generated from it will always be even.  However, because it is
necessary to multiply a given termposition by "two" in order to
discover the greater of the two numbers being summed through
(unless you prefer using division and so use the number being
summed through as your starting point), that number will always 
be a pewn while the lesser paired number being summed through
will always be a pown.  Example: "one" plus "two" equals "three"
wherein the controlling termposition is "one"/ and "one" times "two"
equals the magic nnss number for the odd "one"-"three" nnss pair.
This is the only case where the number being summed through is
also the magic nnss number.  Earlier today I calculated from the
termposition (tpo) "10,011".  The formula for finding the magic
nnss number is: tpo times 2tpo or "10,011" times "20,022" which
results in the product "200,440,242".  "20,022" is the greater of
the two numbers which can be summed through when "10,011" is
the generating tpo, it is NOT the greater of the two nnss terms to
which tpo "10,011" leads.  If the goal is to sum through "20,022"/
then "10,011" will need to be added to "200,440,242"; but if the
goal is to sum through only 20,021"/ then "10,011" wll need to be
subtracted from "200,440,242".  What is my reason for belaboring
this?  In this entry my primary reason is to show that herein exists
a mathematics of absolute determinacy.
-
   I have been reading (randomly) Marjorie Perloff's The Poetics
of Indeterminacy: Rimbaud to Cage and at the beginning of the
final chapter (chapter eight, page 288) she writes:

  In Chapter Six of the Poetics, Aristotle lists
          the six constituent parts of tragedy (for him 
          the supreme form of poetry) as mythos (plot),
          ethos (character), dianoia (thought), lexis
          (diction), melopoeia (rhythm and song), and 
          opsis (spectacle).

She then relates these to what has been happening in poetics, citing
the Romantic, Modernist, and now the postmodern (centering on
Performance Poetry).  John Cage and David Antin figure in this.  Even
though I am psychologically a deep-within person, I am not caged
there, and so at times can be quite antic.  Back in my gainfully-
employed days, one co-worker nicknamed me "bad ass" and another 
one nicknamed me "mad man": homo corruptus?  We're not telling.
That the postmodern sensibility is oriented more toward the oral,
aural, vividly visual, the ephemeral event, imagination's interstices,
workings of rather than products of what we call consciousness, the 
oblique outside// seems to me beyond question.  With each passing
instant planet Earth and Homo sapiens (whoever that is / is that)
are more and more rapidly flying toward somewhere undefined.
A moment ago I had a near vertigo feeling which caused my foreign
guys (there apparently is more than one now) alter egos to/ pop in
with: "Vaired he go?" "Vee don't know, and vee don't care.  Maybe
he will/ stay there."  If I had the technological ability, I would/ try to
create dancing colored on-off dots et cetera poems.  For every
venture there's a season, whether with/ or without reason.  Oh yes,
Aristotle.  |  Plot.  That place within which your ashes are buried.  No?
That which holds a tragedy together like the hand of an angry god.
Maybe I should return to this later.  |  Character.  Something I am
but don't have.  No?  A definable representation of a sentient being.
I suspect an insufficiency here.  |  Thought.  Oh really.  No?  That
which is an evidence of intelligence.  Maybe after I read further,
though I somewhat doubt such will matter.  |  Diction.  Yes, that
would be a good idea.  No?  Speaking distinctly/ and audibly.  Seems
safe.  |  Rhythm and song.
            -       
            Sing a song of sixpence:
            A pocket full of why        
            Four and twenty blackbirds
            Ate an apple pie.
            -
No?  Sonority and enchanting language.  Of choruses!  Perhaps, but
certainly not only.  |  Spectacle.  One eyepiece.  No?  A presentation
of grand proportions.  Yes, but not exclusively.  In thesetimes it might
be simply a minimal object imbued with the power to induce intense 
attentiveness.  There will be investigations.         





The Argotist: Perloff interview

The Perloff book was published by 
Princeton University Press   Princeton, New Jersey
Copyright © 1981 by Princeton University Press 



-
Brian A. J. Salchert