WEBSTRUCTIONISM by ROBERTO LAVIDEZ

Wednesday, August 13, 2014

Kerouacky sketches

by Roberto Lavidez

I must

become

a historian

observe the

history of

society

and write

histories

of the world

in wild

hallucinated

prose

the hero

is always

the same

comes to the

first page

out of eternities

of introspection

anguish

gloom

just as I do

every day

hmm

Dostoevskyan

the types

come and go

and never

change

but history

changes

never mind

what Burroughs

or Ginsberg

have to say

about anything

start by

exposing them

man

the terrible

laugh of

those who

think

themselves

special

elite

it has

a gory

hungry

sound

lonely

dirty

if you’re

not haunted

by something

as by

a dream

a vision

or a memory

which are

involuntary

you’re not

interested

or even

involved

you’ve got

to put a

superstructure

of love

on yr. life

or you’ll just

be a

skeleton in

the grave

of yr.

mortal days

shuddering

naked

against

the main

nerve of

yr. being

only when

that work

which oertops

my hopeless

men

among bones

will save me

up and back

to enthusiastic

inside me

personal need

-breast

the true work

is on belief

true belief

is immortal

good

I blame

god

for making

life

so boring

drink is good

for love

good for

music

let it be

good

for writing

the trouble

with me

is that

outside

my mind

it seems

the world

hasn’t got

no ass

suddenly

I realized

the utter

absurdity

of my

squatting

assy

humanity too

the infinitely

empty

crock of

form

a man

don’t know

what to do

anyway

sun goes down

I wait

dark

prairie

viewers

come round

for Satnite

workers

driving home

dogtired

from work

thru red clay

cuts of time

with wine

faintly in gray

western

horizon

beefing

about work

ah the sad

dry land

ground

that’s open

between

grasses

whip’t bald

by endless

winds

seethe rush

longroar of sea

seething in

floor of sand

distant boom

of world

shaking

breakers-

sigh and

intake of sea

income

outgo

rumors

of sea

Thoreau’s

Concord is

blue

aquamarine

in October red

sereneness

little Indian hill

towards

Walden

is orange

brown with

autumn

why should

I have

a radio when

I can hear

the music of

a crackling

fire

and the

steam engines

in the yard

repeat

let it come

to you

don’t run

after it

it would be

and is like

running after

sea waves

not so sad

as heaven

watching

but all

the more

lost

all the

lost

the gray

drab

Indian village

near Actopan

no coca cola

no orange crush

just dysentery-

ridden water

and lizards

on the

old walls

Jesus has

made it

hard on us

nothing

there is

left for me

for us

but loss

yet we choke

and gain after

races and

rush and

nothing’s

to come

of it

but tick

tack time

that which

has not long

to live

frets

that which

lives forever

is full of

peace and

there is

no man

who’ll live

forever

and so the

crickets creek

cree cree

eaves darken

and get

inky gainst

whitened dusk

the pale dawn

dusk clouds

move not

but silent

in a mass

advance

somewhere

slowly

lonely

motionless

green leaves

vague plaster

rocks

lost in fields

the dazzling

white

sides

of houses

seen thru the

tangly glade

branches

the dry

solemn

ground

of California

fit for Indians

to sleep on

-the cardboard

No comments:

WEBSTRUCTIONISM: Reinventing the World through Creative Language

by Roberto Lavidez

Webstructionism is a name I have given to a theory that explores the use of random words or string of words extracted from various texts and references as construction material for both poetry and art. It is a practice of sequencing words to form new phrases as narrative for painting. It is also a process of extracting and assembling unrelated words and phrases from different sources to create new poetry. What began as a wayward search for an idea for a painting has turned into a method that challenges one’s intellectual approach to words as much as it enhances creative use of language. It has also led to criticizing acquired language after discovering how words can be accumulated and manipulated to effect a thought outside of one’s storage of ideas.

The creative dimension of language use presupposes that man can generate and transform word combinations and grammatical structures that are not commonly articulated in any form of communication. Sentences and phrases that may have no exact parallels in previous English usage can be created and introduced to extrapolate abstract ideas. This rationalist view, in contrast to the empiricist, argues that not all knowledge is derived from and determined by sense experience. It supports the theory of innate ideas whereby some knowledge can result from the inherent structures of the mind. Though external stimulation is necessary to awaken innate capacities, it does not necessarily mean that ideas and concepts result completely from external impressions.

As an artist who is in the habit of not only rendering what is visible in nature, but also capturing what may be deemed unpaintable, I have recognized the viability of the written word as more than a tool for poetry by extending its use as guide material for an experimental pictorial composition. What began as a playful mixing of words from torn pages of an old English dictionary had evolved into a theory encompassing other linguistic theories that bear semblance to Webstructionism. The randomness of stringing words and sequencing of unrelated phrases offer exponential possibilities for creative projects of all media which may provide support to existing theories.

In elucidating the workings of the mind and its capacity to reinvent language, I have embarked on this experimental approach using art and poetry to underscore the creative mental process of forming phrases derived from random extraction of borrowed words. The expression of a thought comes from processing words or phrases that are made available through random selection. I rely on intuition in combining words that normally wouldn’t be selected in expressing a thought in the real sense. Phrases preclude any reference to clichés or predictable word combinations. Though there are instances when memory dictates the stringing of commonly used words to produce a phrase subsequent arrangement almost always lean back to the original intent of surprise of Webstructionism which diverts away from worn out phrases or any reference to immediate reality.

Now, how does this word structure render itself to visual exploration? There is an otherworldly reality inhabiting the canvas space where the arbitrary selections of words provide the framework - syntax as pictorial composition. Symbolic knowledge supersedes the literal in providing the blueprint for the visual imagery. The words that make up the complex phrase is connected by a single drawn line following the sequence of the group of words’ relative use to expressing a thought. The resulting visual abstraction made up of a continuous swirling line connecting words serves as the compositional guide for painting. Enclosed shapes determined by the line weaving through selected words are then painted according to artist’s preference which is directed by intuition and sometimes influenced if not hampered by his predictability of taste and acquired style. Choosing colors to fill in shapes simulate the process of choosing words to make a phrase. Aesthetics that guide the artist’s use of colors however do not necessarily apply the same writer’s approach of mixing words. The sensory appeal of colors influenced by artistic preference and knowledge of the discipline do not strictly correlate to the ordering or sequencing of words in a phrase. Rules are different for each discipline, literary or aesthetic, and compounded by the introduction of Webstructionism, adherence to what has been laid down thus far as rules of the game will eventually yield a more comprehensive scope or objective. Putting yellow next to mauve does not need analyzing as to whether it is representative of nature or an abstract concept as much as combining words ‘grout’ and ‘devout’. Lines and colors do not evoke as much analytical response as words. We can ‘read’ past the random display of colors on a canvas surface, but with words, which is what Webstructionism is driving at, the random selection of words when pasted or written together on the surface compels the literate viewer –reader to translate what may seem outright non-sensical verbiage to something even poetically profound. ‘Grout’ and ‘devout’ may be analyzed as sounding similar but the relevance does not end there. Though they rarely appear together on any text, both words when placed side by side, sans the conjunction, conjures up a meaningful connection or symbiosis. The pious devotee referring to the ‘devout’ requires faith which metaphorically can be associated with the word ‘grout’. Grout ‘fills the space’ which can represent the ‘filling in’ of doubt by the devout or devotee’s faith.

Webstructionist grammar does not reject sense. It does in fact embrace profundity given the right word or in the webstructionist sense ‘the rite’ of words through random selection. It is also, as mentioned, autonomous in the rationalist sense. Syntax is not solely derived experientially. It does not categorically represent sense reality. Sentence construction is rooted in imagination breeding odd selection of words in favor of the commonly used. Since ideas are stimulated by the words made available through random selection the artist is discovering thoughts that may have no parallel in the real sense but which can expand if not add new horizon to the conducive kind of rationality he has been accustomed to.

To illustrate the process of Webstructionism, the line that connects words to form a phrase creates the fluid like image branching into irregular shapes which are then enhanced by color. Words that are not selected are either painted over or left as they are printed on a page. The words taken to form a phrase command the flow of the line according to how each word appears in the sequence. What results as visual abstraction after the line is drawn following the sequence of words is actually a mapping out of the evolution of the phrase. It is similar to connecting dots to form a figure, only the dots are replaced by words and the line that goes through the phrase does not represent any particular figure other than the image it creates out of stringing words.

The first step involves skimming through the dictionary and picking a particular page. Leafing through the pages and stopping at any random page is all instinctive. What follows as the tearing of pages and the haphazard pasting of torn pieces on the canvas surface still requires no mental exertion. The word selection that transpires next, where some are highlighted and others are either left out or erased in the process, is based on the artist’s familiarity or quick recognition of the words. It might take some browsing and discriminate selecting of words but this is as far as the tweaking of the elements go which is not unlike choosing green over purple in coloring a spot. Though there are marginalized words that do not end up in the forming of a phrase the goal is to be able to arrange the retrieved words in the quickest way possible avoiding redundant words that would otherwise spoil the freshness of the selection. The process is similar to picking flowers for an arrangement without giving much thought as to why some are left out and others end up in a vase.

During the sequencing of words, worn out phrases are avoided to explore possibilities of creating a syntax out of unique word combinations. It is a conscious negation of conventional usage of the English language, freeing every formation or phrasing of words from the subjugation of official grammar. Despite the wide variety of descriptive words available to depict reality, common language is forged in its method of representation. The very limitation of vocabulary available to webstruction on the other hand, propels the imagination to forge a reality embedded in the new phrase.

In Wittgenstein’s philosophy of language, he rejected the assumption that the meaning of the word is the thing it stands for. Wittgenstein argued that meaning is what is given by explanations of meaning, which are rules for the use of words. It is what is understood when one understands what an utterance means based on several criteria of understanding. “Concepts are not correct or incorrect, only more or less useful. Rules for the use of words are not true or false. They are not answerable to reality, nor to antecedently given meanings. Rather they determine the meanings of words, are constitutive of their meanings.”

The intentionality of thought and language of Webstructionism conveys the subjective proposition of a metaphorical world laden with symbols. The object is not perceived or seen in the spatio-temporal world but is imagined from the relations of words. The personal imaging of thought formed by the play of words is manifested through the content of what is written. Though the puzzle of retrieving usable words to create a thought shares a similar thread of arbitrary use of language to represent external reality, Webstructionist thought gravitates towards the unknown like stumbling upon an intriguing object or mysterious code that needs to be examined or deciphered to reveal its meaning. The meaning is in the process of construction and deconstruction of imaginings. It does not pretentiously encapsulate the essence of a higher reality but can open up to alternative realities. The final end has neither finality nor ending. It can only retrace the arbitrary formation of words. Looking at the amorphous image created by the line tracing all the words that make up the phrase reveals the choices made by the artist and the blueprint of how messaging was processed. The inductive deductive roundabout exegesis behind the pictorial and verse compositions is the operative principle of Webstructionist thought and language. It is picture-making which generates potential variants of invented realities.

Roberto Lavidez

Ontario Canada

WEBSTRUCTIONISM by ROBERTO LAVIDEZ

Wednesday, August 13, 2014

No comments:

Post a Comment

Blog Archive

Search This Blog

About

Wednesday, August 13, 2014

No comments:

Post a Comment

Search This Blog

Subscribe To

About