Poetry Theory

It is a search; looking into my mind for situations that aren’t impossible but are improbable. Possibly so much so as to suggest that the universe has existed for much longer than we currently determine its age to be. In a sense there is a statistical challenge that must be met. The arbitrary must be excluded because these situations may happen at anytime and do not necessarily indicate an event that would only happen on a long cycle. The arbitrary is that which cannot be seen in some sort of relation to the environment. The significant is simply that which is seen in relation to many things.

In these poems there are places where the physical forces, and natural phenomena are spread out in such a way as to create internal meaning and significance, through the interdependence of the elements in chain reactions that may or may not be possible, but are places where the artistic mind and the scientific meet, because they fuse together more in this initial stage of creation, back near the initial generation of the idea, before it is fact checked and discarded. It is an optimistic because it seeks the possible even if it is extremely improbable.

There are places that we can never travel and things we can never see, but in writing about them they become real in the sense that to the mind it is real. So in a way I am looking for new experiences that can enrich, because in the creation of art the whole is greater than the sum. In that the sequential properties of the poems and their continual editing and rearranging, create new worlds and possible realities that I could not have generated without the help of writing. There is a prophetic nature to coincidence, and this coincidence is brought about by the endless churning forces of nature and the pattern generating chaotic attractors. This significance unites the mind back with the physical with which it arose and creates a unity between these opposites as a result. Thought and experience, the intellect and the terra firma. The motion of matter, the predictability and comprehensibility of the physical and chemical forces all lead the blurring of the distinction between mind and matter. Because, the mind arose from these forces and we are continually uniting with them, it is logical to assume the mind will unite with matter completely and the world will become completely animistic.

It is interesting how language can break down and generate new meaning that wasn’t possible within the confines of syntactic and semiotic systems. It is tempting to question whether the function of the words has broken down or succeeded in some surprising new way. And in the future these new arrangements of language that break the rules will someday be fully analyzed and understood, and nothing will be considered absurd.

I enjoy creating complex difficult situations, and also challenging myself to create the most meaning out of the least number of words as well. I don’t like the word maximum because it designates a limit. I like the idea of an art where anything is possible, where science and poetry are united. I am also inspired by the idea that there is a poetic character to purely pragmatic descriptive writing, the kind found in nature field guides and manuals for electronic instruments. I see it as a meeting of the logic of math with the intuition of the human mind and its endless postulations. I have been inspired by this form of thinking and want to use it to combine objects of significance to create a message that have a form of moral attractive force. So it becomes a manual for life, but in an abstract sense. There is a certain peace that is established within a composition of any kind, the logical systematic use of linguistics can allow more parts to be interdependent and their stillness and equilibrium is proportional to the peace that must exist for the system to remain at rest.

It is my hope that the fortunate events happen to those elements which contribute. Thereby a moral message may be parsed out of the event. It is not a dualistic view of rewarding good and condemning bad, but more similar to that of collaborative equanimity for the purpose of the collective advancement and thereby preservation of the people. It is about the interconnectivity of the world, and the coming together of the parts. The negative events are seen as inharmonic systems that divert energy into another system. The emotional significance of form and shape is powerful enough because there is also an innate tendency to preserve the whole that grips almost everyone. There is even a tragedy when this whole is broken, but there may even be another greater tragedy by comparison if the whole is not broken; there can never be true fatalism. The intersection between the now, the ideal and the inharmonic is the place where meaning arises, in the future because the now has changed, everything has changed and the significance is different. Meaning and morality is an emergent phenomenon that results from the proportional relationship between these aspects of reality. This is why it may be futile to hold onto judgments made in the past. The words wait until they are read, inexistent to the others until deciphered; when the meaning and significance are created.

Jonathan Axelrod 10/9/2011