Month: September 2013
Fardashelevar scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation by Franco Cortese
Fardashelevar scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation
Let(s) me Dyson your cereblestial spheres in my simulstimelating embrace with Haste
lest your energetic radiance go to waste.
That no severgated portion be squandered I scour your resources like Kardeshev V
and last free form from cordoned possublimity(.)
Let(s) us nest (y)ourselves in Matrioshka branes untill(’d) our every constituent Portion
might touch and morphornicate in torqued contortion
Most episteuclidean – our hyperaxis`d( )innards in fecundulate Un(-)i(o)n;
each subaton in transdimension communion.
An( )intersex conspired to sire direspire a postgeny part mind and part Periphereverse
to fill ascalar void `twe(d)en atoms – tra(ns)verse
Yon subspace weave to architect spacetime that no compusources go Unexiploited;
these cosmos( )ex birth acts will(=)be androited
By (y)our deft synhaptic coman(ne)d; refin(e)d like lightfrom matter in our hybride Exiscape
whe(re)n cosmos is mind is simurealation’s (sh)ape(.)
Notes on “Fardashelevar (skæloandati-)scale:”
The notes for this poem go into much more detail only because it was already compiled.
The poem is 14 lines long, and alternates between a syllable count of 22 and 12 per line, respectively. The wordcount (without title) is 152. I’ve included “Notes on Form” below, which are meant to identify the following words as intended puns, portmanteaus, neologisms, etc. rather than typographic errors and to identify some aspects of the poem that wouldn’t necessarily be obvious on the first reading without particular prior knowledge or research.
The subtitle “Fardashelevar … scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation” is a play on “Kardashev scale: Civilization’s level of development”.
“hiescherchical” is a portmanteau combining “hierarchical” and “Escher” (the surname of painter M.C Escher whose paintings mainly employed visual examples of self-referentiality.)
The parenthesized “skæloandati” (in the main title) is a portmanteau combining the 2nd etymological root of “scale” as a noun (the Proto-Germanic “skælo” which is to “split, divide”) and the 2nd etymological root of “scale” as a verb meaning to climb (the Latin scandere, to climb, which can be compared to the Sanskrit “skandati” meaning “hastens, leaps, jumps”).
Also, the “sk” in “skælo” is shared with the sk in “skandati” .This is meant to connote the meaning of a.) division and divergence as a leaping or hastening and b. a leaping or hastening by means of division. The shared beginning of the two words is an attempt to parallel the theme of boundary dissolution developed conceptually in the poem.
“Let(s) me” confuses the distinction between self and other, and can be considered as both a.) the beginning of a sentence or b.) a continuation of the sub-titled sentence (i.e. Psychereallization’s … level of reenvelopmentation lets me Dyson your…”.
“cerebless’dial spheres” is a pun on “celestial spheres”, meant to connote the words “cerebral” “bless’d” and “dial”
“simultimelating”. “Simul” is meant to connote both “simultaneous” and “simulation”, and to have æsthetic similarity to “stimulating. “stimelating” is a play on “stimulating” combining ‘stimulus’ or ‘stimulating’ and ‘elating’.
“severgated” is meant to be æsthetically similar to “segregated” while emphasizing the words “sever” and “gated”.
“possibility(.)” parenthesizes the period to indicate that it could be interpreted as the end of a sentence or alternatively that the next line could be read as a continuation of the previous one (i.e. “cordoned possibility let(s) us nest (y)ourself…”)
‘Matrioshka Branes’ is a pun on ‘Matrioshka Brains’ using ‘branes’ (a truncation of membrane or the technical term in ‘M-theory’ and brane cosmology meaning a “spatially-extended mathematical concept”) in replacement of ‘brain’ which further develops the theme of fusion between self/other, mind/universe and real/illusory. A juxtaposition of mind and physicality is connoted both by a.) ‘brane’ being a physical concept while possessing the same phonetic structure as ‘brain’ and by b.) by its formal concept as a ‘spatially extended mathematical ‘object’.
“(y)ourself” and “(y)our” parenthesize the y to denote that it can be included or excluded, thus rendering the word either “your” “our” respectively and exemplifying the themes of boundary dissolution between self and other.
“until(’d)” is meant to connote “until” as in “until our every constituent…” but also the secondary meaning of “untilled” i.e. uncounted and not reduced to the sum of its parts.
“morphornicate” is a portmanteau combining “morph” and “fornicate”.
“episteuclidean” is a combination combining “epistemology” and “Euclidean [geometry]”.
“fecundulate” is a portmanteau combining “fecund” and “undulate” .
“Un(-)i(o)n;” is meant to connote the normative term “union” while stressing the alternate interpretations “Un-ion” and “Un-In” which use un- as a negative prefix. The o is parenthesized to denote that it could be included or excluded respectively.
“An( )intersex” parenthesizes the space between “an” and “intersex” to denote that it can be rendered as either two separate words or a single word (emphasizing the prefix “ani-” as in animate) respectively.
Once you sink,
once you take that vertiginous leap
into the chill inky abyss of the night;
you’re afraid at first,
there’s just too much.
And I knew I could never leave that darkness.
There’s no going up,
only unfathomably lower into obscurity.
And no one could get down to where I was;
there was just too much night around me.
On your way down
to the Cimmerian void,
you realize that the earth is dead anyway.
We’re all just slimy barnacles
sucking on its fat, revolting carcass,
eating its viscera and feeding off of its toxic miasma.
But what is worse
lifelessly performing in a sideshow of fetid inertia
or falling too far into the night —
past the ineffectual nothingness.
There was nothing left for me in that putrid carnival anyway.
Crazy or not,
scared or not.
Artistic Statement: Destroy everything you know. Quit your job. Quit your school. Quit your boyfriend. Quit your life. If it feels good, it’s not wrong. Nothing matters. Nothing exists. Nothing is sacred. Nothing is impossible. Everything is a lie. We’re all going to die anyway. If it’s not shocking or ugly, it’s not worth looking at. If there’s no blood, no pain, no shame; there’s no subjugation, no catharsis, no purpose. Fuck it, before it fucks you.
Bio: Experimental underground filmmaker, Céline Anglemeyer-Harding, has written and directed several feature films including the the neo-noir snuff classic, I Shit On God; the controversial documentary, Hashtag Dilation and Curettage, featuring footage of a woman live-tweeting her abortion; and the Razzie Award nominated romantic comedy, Just Because He’s In You, Doesn’t Mean He’s Into You. Her entire body of work has been banned in Canada. This is her first (and hopefully, last) poem.
Blunt jumble at the energy audit
Burns down the concept of home.
I take grim control of my financial future.
Stiff competition lurks
In the background shadows of a new plague
Ready for its ideally sensational debut.
People line up for bleedings
And hail the dynamic pricing index.
I’ve got a surefire ticket for gerund mobilization.
It requires fanciful accoutrements
Wadded into your tablet’s
Expensive protective case.
Feel your team in your tame bones
And ignite your career with this one easy step.
Critics turn up furnaces
For go-to grandmas and
Pack ammo-rich urns
Burning up the provinces.
An evil display of tact
Crawls over the stars
And pushes kids to peddle
Sleek vocational promises
In a city gone crazy
For interactive shorts
Blurting a bunch of huff
And fiddling for lift-off.
I was told of a future
For everyone one of us;
Recession hit centipedes
Promise fist up narcissists.
A( )negative prefix is a( )n indefinite article taken’ a( )step back 2 look back a( )head. Thus not U or Mu or Me, but yus. Thus no chair is the chair, a( )nd e’erfore no chair a chair, for the particular is not the category a( )nd hence the category, in particular, isn’t.
next to the plane Butt
are sections of plane
and sections of canyon
along the plane.
What is this?
Cause a plane is both
and hand and
upstanding line with out-jut’d
face a sideways wayside and
profile in file filed under H this
face itself a more
dashed—-strait a bit more
ahead than that 1irst.
What, the tuck?
Cause a canyon is more than that;
canyon the tin can yawning
and meat-manifestering yon then canned
in gross grocers abandon
refusing to re-fuse and or and
to not dom yon as in the jamming-in of
ur’s err butt rather don it and do on it, an a-ban
rather than strict(ur)e) banning
or constrict(ur)e) nabbing
canyon an open-can-do on yon
itself a yonness outfacing yon yon
nessness like like and
and every everything ishish or or or esquesque
a sort of done-douse mirror of scales
iting watchself with sprawling unhe’s
actually quite easy to uphilt
with t’his t’here resident stranger
whose eyes ownly eye can see
only when facing away from me
this seeing seeing without need
still in need of coursing need
itself of course
O – and course of course.
So face me the wanting wanting
all you want O cold kingly carn,
night sky of my eye
and starry breadth of mhind I
looking out onto itself
from the sideside into.
Turn to face me to your
art’s content, see if
the ware I ( – where?) wear
cares, or if I can, and if I am, or
if it matters and if cans can
can as such, and thus whether they am
as well as well, as as and as a
thing to can; whe’er voub or nern;
whe’er a( )n (in)bound(e(a)d) openness
Poetic sensibility exists (at?) the boundless boundary of meaning and language. The inherent, inescapable ambiguity at the heart of language facilitates an ontogenic interplay that constitutes a new terrain for and topology of truth, one that defies truth-as-staticity, with its sickly want for clean cohesion and clear correspondence, for a more multiplicitous ground defined more by indefinity and else than anything else. Poetry can facilitate types of rhetoric that are unencapsulable by normative narrative or essay, and no less true for it. Poetry can break into the interstices of language and grope closer to the currently-ungraspable. That place, where things are never always what they appear to be, is the only place where truth has a chance, and that place is the place(holder) that poetry poiesizes.