konkrete poesie (1972), by Eugen Gomringer
black/white, imagery, poetry, text/image, textuality, wordplaySaturday, March 16th, 2013
Paratexts are those liminal devices and conventions, both withing and outside the book, that form part of the complex mediation between book, author, publisher, and reader: titles, forewords, epigraphs, and publishers’ jacket copy are part of a book’s private and public history.
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There is no need to do more than mention the obvious fact that a multiplicity of languages impedes cultural interchange between the peoples of the earth, and is a serious deterrent to international understanding. The present memorandum, assuming the validity and importance of this fact, contains some comments and suggestions bearing on the possibility of contributing at least something to the solution of the world-wide translation problem through the use of electronic computers of great capacity, flexibility, and speed. The suggestions of this memorandum will surely be incomplete and naïve, and may well be patently silly to an expert in the field—for the author is certainly not such.
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According to an ancient etymology, the word “image” should be linked to the root “imitari”. Thus we find ourselves immediately at the heart of the most important problem facing the semiology of images: can analogical representation (the ‘copy’) produce true systems of signs and not merely simple agglutinations of symbols? Is it possible to conceive of an analogical ‘code’ (as opposed to a digital one)? We know that linguists refuse the status of language to all communication by analogy – from the ‘language’ of bees to the ‘language’ of gesture – the moment such communications are not doubly articulated, are not founded on a combinatory system of digital units as phonemes are. Nor are linguists the only ones to be suspicious as to the linguistic nature of the image; general opinion too has a vague conception of the image as an area of resistance to meaning – this in the name of a certain mythical idea of Life: the image is re-presentation, which is to say ultimately resurrection, and, as we know, the intelligible is reputed antipathetic to lived experience.
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In proposing this slightly odd question, I am conscious of the need for an explanation. To this day, the ‘author’ remains an open question both with respect to its general function within discourse and in my own writings; that is, this question permits me to return to certain aspects of my own work which now appear ill-advised and misleading. In this regard, I wish to propose a necessary criticism and reevaluation. For instance, my objective in “The Order of Things” had been to analyse verbal clusters as discursive layers which fall outside the familiar categories of a book, a work, or an author. But while I considered ‘natural history,’ the ‘analysis of wealth,’ and ‘political economy’ in general terms, I neglected a similar analysis of the author and his works; it is perhaps due to this omission that I employed the names of authors throughout this book in a naive and often crude fashion. I spoke of Buffon, Cuvier, Ricardo, and others as well, but failed to realize that I had allowed their names to function ambiguously. This has proved an embarrassment to me in that my oversight has served to raise two pertinent objections.
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