The New Gallery:
The NSCAD Autonomous Gallery will begin as a public work of art building on the Lion Statues near the entrance to Fountain campus.
With its first exhibition opening scheduled for the last week of September, (see posters around campus in the weeks leading-up for exact date and details) we will enact directly The NSCAD Autonomous Gallery.
Beginning with these lions, who once were young (reborn of their nakedness, and guard of a small art school) and stood for strength (a strength of a particular kind, it goes without saying), and synthesize. Where the old press deconstructed, we are constructing something new.
Become tired and weak in blankness and stillness, these lions will enliven as they are invigorated of sapid colour, fortified of novel structure, and complicated of imposed or imposing literature. Birth new limbs and new functions, through and atop and occasionally instead-of the old.
There will be multiple public installations on the opening night, and more will grow and build on every night that follows.
A New Organ for a New NSCAD:
A revolutionary gallery. A gallery beyond the rituals of modern and contemporary art. The first gallery of the poetic arts. All works being not "participatory" in terms of the allowance for some limited and impotent footnote to be added to the work by otherwise mere observers, but rather a gallery utterly engaged with a public of creative appreciation. Each work is only momentary and is to be imposed on and subsumed within greater expressions at the whims of each member of the public. Each interjection, each appropriation of any artwork is the death of the old and the birth of the new, and not a mere moment of the old unfolding. Every new contribution - a poem over the portrait, a garment upon the figure - must be a revolution. A new potent work of art with each generation of building appropriations. A gallery growing in expression and in space.
This gallery has no walls and only grows.
The NSCAD Autonomous Gallery will grow to subsume in fervent lively poetic expression those objects most immediate to it, then more, then more.
The Poetic University, Total Of Art:
Each campus, piece by piece, engulfed in the conflagrations of artworks unending in alterations of public interventions. Total artistic freedom (and importantly, not only the possibility of, but the manifest presence of good, new art) everywhere and of all things on the NSCAD campuses is the inevitable result of a poetic art gallery brought to grow in autonomy.
Every object and every inch of the emerging NSCAD campuses will be wet with paint and clay and freshly watered flowers. Old doors carved of poems. Old bricks coloured each of new and important composition. Chairs and windows and mirrors as objects of sublime appreciation. No creative act regarded flippantly or treated as mere instrument. An art school subsumed of art. An institution subsumed of potent expression.
We enact the painting and sculpting and writing and living of every surface and every space. Draw and carve and juxtapose and do everything, do whatever. Do it good.
The new emerges through the old. The future ordains delicately and with passion what is past. The lion lives. The university is alive and living with art.
The university of the poetic arts. A totalizing institution. Collective murals of every surface. Performances of every space. The NSCAD Autonomous Gallery is the institutionalization of liberty and saturation of artistic expression through the armatures and cottons of all ordinary life. The constant detourning of the institution itself. The taking of these spaces in indifference toward ownership and the assertion of an artistic self-rule. A public sphere of the poetic arts.
The last art college died in 1980. The first university of the poetic arts was born in 2023.
A total revolution of NSCAD. Self-abolition of a totalizing gallery. We will create a time in which there is no gallery of NSCAD and in which every aspect of its campus is dripping sapid art always. We will create a NSCAD without gallery openings or regularly scheduled exhibitions, and in which the works of all students, faculty, staff and visitors are on permanent display and enlivened and covered up and overcome at each morning.
We will create a campus in which no one warns of the wet paint on the chairs and handrails as our clothes and our bodies are already wet with the paint of the picture we are acting as fashion or self-subsumption.
The institution itself, an artwork. A university living an art of collectivity, imposition, and futureness. A university teaching through classrooms of liberty and vital expression.
The NSCAD of the 2020s is driven to revolution out of necessity. Driven to a time of historical import as the present was in possession of no possible future.
We begin by enacting only two essential organs. Foundations for the development of a powerful and articulate movement. We focus primarily on the expansion of democracy and the building of student power itself.
We are done with merely resisting novel oppressions, only opposing the loss of the territory of ours which happens to have been most recently conquered. Only reacting to their power. Only slowing our long and painful defeat. We will take what we need. We will take now, now. This institution belongs as a matter of principle to the students and the faculty and the staff. Its governance will come to reflect this fact. Once a direct self-governance is established, which is universal to the struggle for liberty, order, and democracy, then all particulars can be dealt with efficiently and fairly, voting directly our desired future into becoming.
The future is done; it just has not happened yet.
More manifestos will follow. More enactments will follow.
Declarations of rights. Declarations of autonomy.
We will swallow this institution piece by piece.
We will continue to act directly, to create itself the future of NSCAD.
Now was just the foundations for a movement: artistic democracy and
intellectual organization. Next is pedagogical democracy and
revolutionizing of content. Then is financial freedom and
governmental autonomy. The power of the people of NSCAD will only
grow.
If we desire student housing, we take sections of campus to meet our
need. We will occupy offices with beds and will organize around
communal bread and every necessary comfort.
If we desire that which requires four-months' time and the efforts of
20 creative individuals, a course shall be authored with assignments
requiring the direct solution by the class and professor of the
problems we are living.
No labour ought to be wasted.
What we have, we shall use, is the essential doctrine.
What we need, we shall take.
Where we have space, we will put some life into it.
Where we have artistic ability, we will express and enliven.
Where we have time, we will labour and organize.
Where we have numbers, we will occupy or overwhelm.
Where we have intellect, we will plot and outwit.
Where we have strength, we will take or overturn.
What we have we will use to take or build more.
Manufactured consequences do not inhibit us so long as we keep unflinchingly moving on up. There is no need for reaction. We have the power to take what we need.
In building a student and worker democracy, our success is of simple necessity.
Certain of our needs will require a student movement on the provincial scale
in order to overcome the oppressive deals every university and
college in Nova Scotia holds with the province. We consider this a
feature and not a limitation of the trajectory of our intentions.
Simple liberties will be won simply and directly.
Complex liberties will be won directly, too, but will require a broader base
of the people of each university and college in solidarity, in unity,
and in the realization of each their own specific material potential.
On this grander scale, each facet is still a facet, and no labour
ought to be left unutilized. We will sublimate our organs and we will
enact the revolution uniquely as a fragmentary and unified body of
institutions.
Socialist institutions of the future.
The future of NSCAD anticipates a new era in art and literature. A new
place for the university in society. A new generation in
revolutionary action. To be any less than this and we would be meek
in comparison to the histories that our institution has already
fought and won.
The 2020s will have been a time of revolution.
We are here. This is where we must begin.
We begin with Kjipuktuk/Halifax.
We begin with NSCAD.
We ask for nothing.
We will take everything.
12 Syntheses on Postcontemporary Art
Beyond the Insufficiency of Metamodernism
and other Weak Surrogates for a Future Beyond the Now,
or,
Remarks on Some of Today's Symptomatic Trends
and the Greater Potentiality They Imply
Already in history thesis and antithesis as modern and postmodern are here. Their synthesis is not merely their re-presentation in art. To articulate only the actors already manifest of our condition does nothing in overcoming the conflict of their activity.
To acknowledge the potentiality of the postmodern critique is not to overcome the critique. To oscillate is to be tied to the fate of constant and inevitable return, a perpetual failure to build new meaning, a resignation again and again to that point zero, plagued always under the weight or shadow of the necessary postmodern deconstruct. Liberation by mere acknowledgement of servitude or defeat. And this is today what is called the more optimistic route. And this is today what is called a way beyond.
The postcontemporary is beyond Stuckism and the Stuckists' "Remodernism", which only rejects the rejection of modernity, mere anti-futurism, and does not overcome in any way the contradictions made apparent by the initial act of rejection. The mistake of the Stuckists begins in their belief that "anti-anti-art" may be a return rather than a final independence.
To overcome postmodernism is not merely to include the subjective and the objective. To transcend postmodernism is not to maintain thesis and the antithesis in flux or repetition.
To transcend postmodernism is to realize the synthesis itself - an art which does not play between the subject and the object, but which is in itself simultaneously subjective and objective, which is total in its unity, which posits beyond the contradictions of now's conflict.
Accumulation of modern and postmodern without subsumption. Many fragments without an ultimate unity.
Postcontemporary art grows new organs and builds toward stronger and more complex ways of living throughout work and new subsumption.
Metamodernism is only the failure of Modernism's own bungee cord suicide.
New Sincerity, Meta-irony, is a cultural symptom of this interregnum between eras. After the complete deconstruction of modernism and before what must supersede. Symptoms not only mourning clingily the old, but optimistically, embodying anticipation in the zeitgeist for the new. The future is ripe and its sticky juices mark the hands even of those fumbling to reconstruct only from the old parts. They want something more. The future is seeping and saturating.
Art must not only be aesthetical/formal/sensuous or anti-art/conceptual/content-dominated, and must subsume all the aesthetic and the anti-aesthetic toward a new non-aesthetic (anti-anti-aesthetic) art action. The poetic expression in art is art beyond postmodernism and is art beyond the contemporary.
The zeitgeist which is thirsting and too proud of all that tastes not dry. Beyond the contemporary is not a new style of art but a new structure of art. Not a new concern in philosophy, but a new method. Settle not for less than an utterly new relation between humour and comedy.
The thirst is ripe and the desert of lack is sapid in potential of flood.
As in, not "why be sincere?", but "why is this particular what populates the work?" "How does this emotion function to build toward the structure of the expression?"
The beyond of contemporary art is not simply the addition of a particular cultural attitude. This is trend, taste, fashion. The beyond of contemporary art is not to change the what of art, but the how of art. A new art function. A new structure of art. To revolutionize the way art means, and not only to occupy art with a few particular meanings that are new.
Grow some guts. Grow some organs. It sure is difficult to be a good artist. People live and die for this stuff. Now go make some art. Make some good art.
No more acting the old way and critiquing its oldness. Self-aware critique of the insufficiency of self-awareness is tired and Kaufman or someone did it better fifty years ago. No more repetitious and endless and empty acknowledgements. Create the future or get out of the way.
The dusk before the dawn, the death of the rebirth. Postmodernism anticipates a new era of art.
The New Public Sphere
And the train devoured our boat arriving a guillotine kissing the throat of the bleeding baboon the whistle cuts like whips weeping for the past holding on the future eruptions of the future we are delivered as a can-opener of gunpowder sardines. Fly and Harbour power.
Trusting like the sapid pounding heart of the bonobo or an envelope.
Vigorous liberty in public.
A new participatoricity of democracy.
Beyond participation.
Self-rule.
A university a gallery a park a hospital a whatever, an organ for whatever. Total in the triumph by the necessity of function over the determinacy of form.
Form limits, deadens completely. Very little.
Possibilities latent of each form multiply and complicate and become obvious of creative uninhibitedness. The structure is for power. Order and new arrangement. Massive bodies rejoice as organs regrow bastardly and synthetic.
Of course, that's just the cliché.
Several black Rothkos in the lower bits of the TV stand.
Shut the teeth and escape not the truth of masks.
If you are not going to fumble in the garments that's
when you have to
every fruit juice negates the negation.
Fixture of the tube transplant toward another world.
Dreams are purposeful and angry at you.
A new democracy of the public. A commons. A new collective ownership and action. A new public sphere.
Solitude and socialism. The dictatorship and democracy of art.
The violation and the offering which is expression.
A life without non-creators. And without bad art.
Every citizen knows the intimate struggle of now against all history. The solitude really which is to create some thing new. The utter isolation of new. The origins the seeds.
The artist or revolutionary.
A poet, total. The poetic institution. The poetic public sphere.
A postcontemporary public sphere. Fragmentary, constructive.
An individualist collectivism.
The genius of the public. Mass production. Independence.
Many new gestures accumulate and build toward something new. A new struggle in history.
This printing press, and every book is only acts of vandalism.
These streets bleeding with eight billion voices and no echoes of madness, growing in volume.
Create what must be, what cannot be.
Do away this stale disorder and revolt.
The new immediacy of art. Not just to make art more visible. The creation become itself not only a public act, but the act of the public. A new publicness of art. And ordinary life is the production of the art. Mass-production. Masses invigorating productions of new masses. Public authorship. The immediacy of of the public.
The new public sphere arrives a self becoming defining a state of liberty in common a potency manifest through all spaces shared, created, by all.
Manifesto Toward a Poetic Expressionism:
Volume I(Complete three-volume book to be published subsequently.)
[1] Down with immediacy, mere death, pure art: pure expression - down with form and with concept in art, weak art rich of purpose or skill, weak art rich of intellect or emotion - down with all art whatever impotent and static and lack of a poetic expressivity - down with art which is about and which is not of - down with all art holding distance of any kind, standing for something rather than being or taking and hoisting the thing itself - that brings its spectators to a point rather than to its end, which identifies a contradiction rather than overcoming it - totalize - down with life not in or of art - down with art stripped of life, the smooth oily hands of the public, isolation, sterilization of art - art must act and commit revolution and art must have its limbs hacked off and sewn or sculpted for new action - act on art and be acted on - impose on art and be imposed on - the direct, the re-presentation - down with all art and toward an aesthetic life - the death of art, the death of literature, the second birth of art and literature, born of everything - all things future through all things - the last art theory -the first theory of a new art - all art declares against art and enliven every declaration - death to the poet - death to the artist - up with all things held above - all things below through all things above - foundations rot or foundations burn, self creating a self - a generation total against history and live moving poetry, express and subsume expression - carve old foundation of intricate gesture, new connection, away with old skin -down with Breton - down with Debord - down with Ampersand - old art is old and now art will be new - down with revolution -repeat the cliché - the sinking spongy skin of what is left of the old art, cover the eyes then - this tradition of aggressive emptiness, repetition, purity, will not go quietly - death must be imposed on art - down with the critic whose work is about and not of the work toward which they are critical - down with destruction - down with art which is in itself, and not in the discourse which it imposes on and is imposed on through - lively death to Poetic Expressionism.
[2] An aesthetics of movement or act.
[3] Orchestralize the new world with an aesthetics of life and of death.
[4] The poetic expressed is a lifeness, a subjectivity a future -now- a life of more liberty of more potency than now.
[5] Art is the creation of intercourses between subject and object.
[6] Art is intercourses latent manifest.
[7] The clock jumps the clock moves for the first time in fifty insipid years many clocks fuck many walls a generation arrives a generation is created.
[8] The poetic expression arrives after the contemporary.
[9] Poetic Expressionism is the structure of revolution in art, the free and intensity of life, the fortification of those faculties to struggle to order - the subject in art, as history - to stumble and cut before history.
[10] The creation of art is that of utopias, creates the future from that it emerges.
[11] Art is created of a totality, development, a liberty not yet realized.
[12] Poetic art lives livelier than its condition.
[13] Poetic art is new liveliness expressed - not surface, perception, not idea, mere feeling - a happening, the poetic expressed in art is an intercourse, an enactment of life.
[14] The appreciation of art challenges, demands, takes and creates new life.
[15] The unity of art is the unity of a fragmentation and not a harmoniousness - a totality building of contradiction.
[16] The implicit is the action of the poetic artwork, which is born, activated of the perceiver's engagement.
[17] Words of an automatic poem are mediated by consciousness, however briefly, governed.
[18] Toward not the explicit the seething unconsciousness pulsing in wet ink on the difficult and swollen paper, but is implicit - strings forms points pushed through and acted on changed by the structures of the unconscious, the unconscious not in the mark or the words but their history, their order their relation - the unconscious ordered toward great art.
[19] Contents of the unconscious are explicit and are mere propositions -the object and not the living of that object - wage war with and for the movements of the unconscious.
[20] Art is death as action becomes in an object posture and not new action.
[21] The contemporary era ended one instant ago.
[22] The implicit of poetic art, the poetic expression, is the future created by acting against and with the art object.
[23] Live liberation - make art liberty.
[24] Balance is juxtaposition toward sterilization - purity is the gesture in a vacuum - the unity of art is total and subsuming of fragmentation.
[25] Poetic art does not mirror the implicit explicitly, but rather elicits the gesture or movement through imposing.
[26] Poetic art is reproductive suicide.
[27] The automatic in poetic art is most importantly of the unconscious -least importantly, it may be non-conscious.
[28] Art requires the conscious and the unconscious, which is a truism.
[29] Poetic art is not significant in its form nor in its concept, but in its gesture, the implicit, the poetic action, the life which it creates.
[30] Poetic art is life expressed more than mere representation.
[31] Poetic Expressionism is the expression of the implicit discourse by means of the explicit form or content, a surface which may mirror or contradict its expression and to the same end.
[32] The implicit activated of engagement is the discourse between the particulars of the artwork and they who appreciates them.
[33] Old art is only a re-presentation of life, of posture and particulars, now and not beyond.
[34] Poetic Expressionism is pre-presentation, the creation of a new liveliness emerging.
[35] Not form or content of life, appearance, description, likeness of feeling - not what life is, but how life is - nothing of the objects - but the action between subject and object - art pushes how life is.
[36] The poem grows appreciates through conflict, imposes expresses to the extent that it is imposed on.
[37] To appreciate is to violate the object's bounds.
[38] Poetic art reflexes - its depths are climbed to stretch its elastic limits snarling or holding to the already stalactites - holding in its action - the liveliness of poetic art appreciates in its livedness.
[39] The perceiver is an object to their action in reflection.
[40] Great art continues to sting, and as one perceiver bites down further, fluid needles sink deeper into full teeth.
[41] A poet is concerned with in art not colour, not interpretation, not feeling - not the things, particular form or particular content, but how it is to live them - this totality, subject and object -intercourses of what is alive and what is lived - not what is alive and not what is lived, but their together liveliness - what is the product of engagement, appreciation - not the particulars but the unity, the action of the artwork - not the dancer, not the dance -the expression which the danced structures toward.
[42] Not what that object is, but how it is to live that object.
[43] Through an other re-created, a new, not what they did see, to feel or think as they felt or thought - to live not what they lived, but how they lived.
[44] Art not about life - of life - toward life.
[45] To deny what is vital of the subject of the work: the subject - to deny what is a crucible to the object of the work, that it was lived - a lifeness, a poem acts intercourses - as opposed to merely perceived, felt, or thought - known by more than an object.
[46] Observation is the production of a form of the work of art.
[47] Interpretation is the production of a content of the work of art.
[48] Appreciation is the production of an expression of the poetic work of art.
[49] The object is interpreted toward concepts and toward feelings.
[50] Interpretation only complicates existing or creates new objects, populates with particulars.
[51] The poetic movement of the work does subsume - appreciation holds observation and interpretation - the poetic expression is the intercourse of the form, the content, and the subject.
[52] The form of the artwork is what the artwork is for - the manifest action of the artwork - being.
[53] The content of the artwork is what the artwork is about - the meaning, feeling, statement - becoming.
[54] The expression of the artwork is what the artwork is of - the life of the artwork - overcoming.
[55] Three revolutions in every work of poetic art - true art lives congruently, good art pushes beyond life.
[56] The subject in art is what moves beyond its objects.
[57] The poetic movement is the lifeness of a thing.
[58] Life as not the sum of its component parts, but the synthesis, the activity of the intercourse of subject and object, a unity built toward and not particulars analyzed to.
[59] The conflict between the formal and the conceptual is of the past.
[60] An idea represented as an idea is a particular appearance of an object - not a situation, a totality, which is the vibrant working happening that is living having that idea.
[61] The overcoming of the contradiction between form and concept is its synthesis.
[62] Form and content are equal in their function toward the poetic, are explicit qualities through which poetic discourses become built.
[63] The impression is the snapshot - the objective, repetition without multiplicity, passive and denies action, the conservation of the fragment.
[64] Poetic life is in motion.
[65] Old art only waits.
[66] Whether a work is or is not formally or conceptually representational is of zero interest - the poetry of the work, the implicit, is the expression.
[67] Form, concept, taste, disgrace: whatever - whatever serves the expression.
[68] The subject of the work is the expresser and the perceiver.
[69] There is less utility in annihilating the past, but the present.
[70] What constitutes the snapshot is gestural arrest, not temporal arrest - the tableau may be as dynamic as the ballet, the film as gesturally static as a David in marble or slippery oil.
[71] The realization of the poetic expression is the violent defeat of the art object.
[72] Expressionism has dealt only with the objects of the mind, the actions of the hand, not the subject.
[73] Poetic theory is at its best excessive, earnest conflicting, the potential which its incompleteness or overcompleteness alludes to.
[74] An inaccuracy of objective representation is no antidote to the sterility of objective art.
[75] Futurism depicted the actions and movements only of objects.
[76] Performances of all kinds have engaged the subject toward only some objective situation.
[77] Subjectivity is everywhere and is lacking in art.
[78] It is difficult to live anything without being alive and art lies limp and stale at eyes everywhere.
[79] Anything worth saying of art is better left unsaid.
[80] Repeat the cliché.
[81] The dictatorship of the provocative.
[82] An art which avoids producing gestures on account of some emotional appeal is an art unwilling to face the depths of its capabilities, unwilling to explore the extent of its specific potential.
[83] The poetic theorist captures the tension between art and honesty, what invigorates, what is provocative, and what is simply intellectually rigorous.
[84] Art uses propaganda, art uses journalism - art is not propaganda and art is not journalism.
[85] The muse their critique being the observations left of that pitiful mess the deconstructed movement of their own expression - the theorist yields the scalpel, severing not what is unnecessary, but what holds poetic truth in its division slashing to a pulp what is infinitely dividable taking notes on the unknowably simple contents of the gesture.
[86] Art theory must be true and true.
[87] Whatever serves the expression - at least make it good.
[88] Art and the most human action - the edge of history the edge of life.
[89] Truth is unimportant in art - its goodness or greatness is its sapidity and breadth of life.
[90] No methodology, obvious and accessible to any who live art - play in poetic struggle.
[91] Revolutionary not only in its meaning, but in its means - a critical theory which through the subject overcomes its own critique, which refuses to reconcile the tensions of its own dictatorial totality.
[92] Creates something to be destroyed, to be built upon, flourishes as future foundations, the theorist of the poetic arts employs the invigorative, that unprovable and unfalsifiable over that which is robust and methodologically sound, which is empty and dull and which is or seems true.
[93] Overcoming the old is a direct action, is latent in but not implied by the prior act.
[94] The poetic theory must maintain a self-critical situation, must bring the perceiver beyond themself, further, must enliven them to act beyond it itself.
[95] Work truths of the old falsities - add.
[96] The critique of the jagged edge is not the critique of pure reason.
[97] Art is indifferent toward everything except life.
[98] Art lunges for revolution.
[99] The perceiver is critical of, must be constructive of, the theory's self-critique.
[100] Poetry is the edge of the life of the subject - sparring and holding to the bounds.
[101] What is new in the era of postcontemporary art, the poetic arts, is quite simple - whatever, and express the activity of life.
[102] Made of this life, and toward a newness.
[103] Pure automatism is objective and dead.
[104] The autoportrait is the act of automatically unraveling a spool of wire while birthing, unconsciously expressing articulating the wire to open some form - expressive of the poetry, the movement of birth.
[105] The unconscious imposed upon, the unconscious in interactivity, the unconscious mediative, total and impure, the autoportrait moves with purpose.
[106] The act of its expression creates in its first instance the life that is re-presented though art.
[107] The role of the prior gesture in the creation of the next - the poets acts, the art responds - the work of art in autonomy - art governed by its own movement.
[108] The autoportrait is the imposing upon an object, and the unconscious expression of the tension through.
[109] The pure experiment in automatism is the automatization of all faculties - let alone whether an expression is perverted by consciousness in being bound to a certain timeline, or to the limits of the page's boarders, the truly unfettered automatic expression must be free to possess one's limbs and lungs, expressive convulsions and breathing patterns with no concern for the preservation of one's own life.
[110] Not this pit of wet char, but the grounds on which it was founded.
[111] Mediated by the death of Surrealism.
[112] Mediated by the deadness of history, of life contemporary.
[113] Surrealism evades skillfully that ordinary droning of consciousness, the artness of painfully normal repetitions conscious art, that sameness, that wanting calculation, balance toward nothing new, and evades just as unseeingly, unlivingly, the movement, the multiplicity, the complication, the plague among the forms art seeping through toward beyond new after or, evades the intercourse, the accumulation interjection the creation and new, evades only consciousness and fails in the unconscious, fails the subject not only as an object, a mechanism, a process which ends at the point of revelation, ends with producing pen and paper in hand, ends with purity, explicit, nothing, before the poem is written.
[114] The action of the unconscious, the movement, is not reduced to the finitude or determinacy of particulars - the forms the contents of the artwork - holds as implication at the intercourse of the perceived work - requires appreciation.
[115] The movement is never held in the mind at once, never a simple object of the mind, but maintains as an intercourse lived throughout time by the artist, many moments constructing and not reducible to a snapshot.
[116] A sublime situation of particulars, not a particular situation of sublimity.
[117] The autoportrait depicts whatever it must depict, re-presents whatever is present.
[118] The manuportrait is the conscious expression of the tension between subject and object, the poetic, the cultivation of aesthetic life, movement, re-presentation, by manual analysis synthesis.
[119] The autoportrait is automatic and rigorous and investigative, is the opposite of the passive, the pure, the unconscious alone - the autoportrait is the expression of the unconscious and is the acting upon through the unconscious.
[120] What is poetical of the autoportrait is its imposingness, the activeness, that the expression is acted with life.
[121] It is easy to make bad automatic art, to at least begin - manual poetic expression, taken earnestly, is difficult to produce even badly.
[122] Not the expression by the unconscious, the expression of the unconscious.
[123] The automatic expression, the Surrealist's final artwork, is the raw material, molded by the poet with an unordinary consciousness to meet the gesture of the emerging poem.
[124] Hodgkin knew the manual expression of situation, depicted re-presentations of mental states themselves, and failed in the poetic expression only in that his subject remained an object -depicted the mental state itself, and not its relation, not the life of it.
[125] Poetry is the expression of life and is life imposed on engaged with constructed more - realized beyond what was lived.
[126] Poetic art is the imitation of life, not the lived.
[127] Theory is useful to the extent that it renders itself useless, to the extent that it brings itself to a point of its own surpassing, overcoming, dismantlement - must build lasting structures of temporary propositions.
[128] Not a single piece of glass, one honed and refined to refract the raw light into the perfect category - the application of poetic theory is the trudging into that great heap of splintered glass fragments, the assertion of tensions and antitheses to be realized and overcome, the mound which itself grinds down in abrasion, realizing chewing analyzing the explicit the implicit as its imposing quality is laboured through.
[129] The poetic a boundary, a structure an order that governs whim, not a membrane but a discourse between, satisfied potentially by any vehicle that holds right.
[130] Abrasion is mutual and progressing and contradictory and this fragmentation is constructive and this analysis is synthetic.
[131] A work of art, poetic theory never is patronizing, never helps along the way, never regresses to pretend to move forward, never affirms, only cuts, functions beyond its creator's movement, beyond the moment, in brutal unflinching imposition invigorating the next.
[132] Acts and endures and accumulates with life building of it, unifies in many moments what in life is sequence, holds before and before and now together building beyond this, holding to a synthesis beyond the life of its moments.
[133] Representation is always a repetition, even in multitude - the unity is new.
[134] The future of the artwork is what the artwork implies.
[135] The explicit is many repetitions - the implicit is what is derived of these discourses, the unity, is what goes beyond, the life created in its first instance of the artwork between the objects.
[136] Poetic art is not the representation of life as it is, but as it must be.
[137] A freer gesture, a more potent and broad subjectivity, through and beyond this life - a utopia, a future.
[138] The poet expresses not without hesitation - saturates the mind, holds and plots, still, this sublime reflexion, selective aesthetic consciousness this acting subjectiveness pulling and pushing living thinking in the living subsumed of poem.
[139] There are boundaries, consciously enforced, and which do direct whatever may populate them, are expressed as the order of whatever manifests.
[140] The future of the artwork derives of the history of its expression.
[141] The life which is being created as it is being expressed an analogue progression of discourse gathering intensifying.
[142] Through expression and through appreciation limits of subjectivity are challenged and fought for, cut and invigorated - more, more intensity, more greatness, enliven liberty enliven audacity enliven brutal order enliven the subject as they must be in history or in art - liveliness in art begets life.
[143] Every work of art must go further.
[144] Every work of art must be a revolution.
[145] Points of contact, gesture of flame licking the ceiling, marks of soot.
[146] The unconscious is raw material, lays the surface, and it is consciousness that scrutinizes toward poetry.
[147] Appreciation creates what is appreciated
[148] The repetition of the other as well as the creation of itself in its own first instance, founded in its repeated presentation and beyond the old, growing and new.
[149] Art cannot itself reach outside itself art moves to the future -impose on the now.
[150] Art arrives before the dawn.
[151] The poetic now is the pre-enactment of revolution.
[152] The artwork is beyond the perceiver and the artwork is beyond the artist.
[153] There is no teacher and no student and expression and appreciation as activities are distinct and similar.
[154] Eight billion poets.
[155] The first act will be the democratization of the means of expression - the distribution publicization of poetry.
[156] About a dream, never of dream itself, never through dream - the Surrealist work is representative of the dream only in that it recalls the explicit qualities of the dream, recalling the image, not the action, the movement of the dream, the surface of the dream, symbols petrified, not getting at that content of the dream, the expression the truth the meaning, by whatever surfaces serve the expression.
[157] As the Futurist diverts the canals, floods the museums in an act of destruction, the destruction of all but the future - the Poetic Expressionist, instead, soaks the works of the old masters with gasoline and cobblestone in an act of total creation.
[158] A poet creates art in order to overcome, destroy its significance.
[159] Enliven the past, embolden the past and recreate the future.
[160] The Poetic Expressionist is unable merely to appreciate art - a poet is far too narcissistic to be such a narcissist.
[161] The art gallery will be dismantled by the public in broad daylight -a gallery of the people.
[162] It is time no longer to look - art is now far too important to be held at such great distance.
[163] Poetic Expressionism is the pursuit not of the pure but the after, not the end but the totality.
[164] The Poetic Expressionist created an implicit thesaurus, which offers poetically symmetrical word combinations such as the phrase trapezoid director being synonymous with cathedral sanitary, and antonymous with always railroad transfixed.
[165] There is nothing passive in the autoportrait, there is no simple allowing of the unconscious to reveal to act convincingly - a sustained struggling introacting, provoked, other-self - the arduous investigation of the unconscious.
[166] The figure of the portrait is honest and implicit.
[167] The Poetic Expressionist may translate the original manuscript of Soluble Fish meeting every standard of a rigorous practice without having learned a word of the French language, or better, without having read a word of the text itself.
[168] Reflective and reflexive, the mirror reflects the perceiver.
[169] Expression through the mirror, a double self-portrait.
[170] The autoportrait of the orchestra, each note or sequence an expression mediated by the accumulation of all notes which precede it - each gesture a culmination of all its previous gestures, the totality of hitherto poetic expression in addition to the gesture which it first gives rise to, each musician acting and imposing on the work independently, layering on and developing through the tensions of all others - total fractalization grounded in gestural history, building through return in the collective of independence this spontaneous unity.
[171] Not intuition, but the whim - each aspect of life exhaustively developed through the scrupulous whim of invigorative poetry.
[172] The life of Poetic Expressionism is the life of purposive whimfulness.
[173] The soundtrack of the revolution will erupt without warning, at each moment capturing each moment, movements of revolutionary struggle, invigorating struggle as struggle invigorates life, creates poetry -giving rhythm to the abolition of all that stands against beauty and truth, liberated expression, demanding asserting imposing, imposing poetry onto death, for the new spring, a generation with a future, a serenade of birth.
[174] Pursues their own reflexion.
[175] The speech which rambles and reflects, which the perceiver uncovers creates their own words within, beyond their words, the speech mediated by the concept of hate, the poetic orator invigorates the vehement inclination towards engaging in activities of care and fruitful beauty.
[176] The poet labours toward the limits of the work, the anti-mirror.
[177] Fragments of glass will inevitably come in and out of appearance, will scratch away and reappear in a reduced or acute form.
[178] The autoportrait, the activeness of a door projected in paint on the door itself, the manuportrait expressions project the alienation of city life atop flat hollow buildings, the creation of an environment subsumed of aesthetic life - live the art becoming of life.
[179] No impotent and immediate slogans, render the streets lively, render them more than they are - reflexive of new and emerging still subjectivities, monuments to their own destruction - not symbols about revolution, but expressions of revolution itself.
[180] The previously produced artwork may be appropriated through the projection of subjective tensions atop it - the manuportrait poem may be created, brushed on in thick white oil paint over the old spectacular landscape - the tension between the old work and the new artist being captured in a few bold words, the old work is negated, it is relived.
[181] Art not busy birthing is busy dying.
[182] The whim emerges through reason and experiment and reflection and challenge, is developed through a process of creation, some synthesis, not discovered, is laboured into being.
[183] The meaning of the work is no longer the work's meaning.
[184] To point to its line, its form, its meaning, is to reduce its expression merely to each aspect, to ignore the united synthesis which is its expression, the wholeness of its action, the discourse or movement which is its full engagement.
[185] Meaning is contingent and necessary for the work's totality.
[186] Art was the promise of dawn - history was the crude morning after.
[187] Wherein meaning is a mode of the work's expression, meaning is a multiplicity - itself reflexive, meaning is not the end, but an instant of the expression.
[188] Collage or a rebirth emerging the poetic desecration of the object or statement - sublimely taxidermizing new better animals of the old fur and skin - the future rearranging the present, revolutionary potentialities latent in the now.
[189] To strangle what is fleeting, to petrify what is lively, potential, to preserve what was once expressed as though it is above expression.
[190] Poetic expression mediated by poetic expression is the recount of old poetry and the subsuming of the totality toward a greater accumulation.
[191] The poetic portrait of the expression of the face may explicitly resemble the formal qualities of the face engaged with.
[192] Once described by the poet, the painting may as well be forgotten.
[193] Recall the painting in thick paint over the painting.
[194] To render poetic the clinical walls of the gallery, the barren and sterile, fertile with the momentum of its own insurrection - to give silence or song to the blank canvas screaming, cursing, begging for anything in the dread of its own expressionlessness.
[195] In that future all people were poets and all people engaged in poetry among other activities.
[196] The poet too offers three chairs and only one - the chair torn and scattered by whim - the chair photographed and printed and painted over a manuportrait projection - the chair reflected in the autoportrait poem scribbled in black over white panel.
[197] To make everything into true art, through the total negation of art, and of truth.
[198] Two works of entirely different medium, quality, meaning, may become identical in their poetic movement, dynamically symmetrical, equally expressive of a same poetry.
[199] As life, art can be paraphrased.
[200] The appropriation of the gallery, the unwelcome slathering of gallery walls with movements of its relation manifest, the subject there carving creating the walls and all people poets within the museum, a truly public art, the institutional critique.
[201] Toward a new democracy of the public sphere.
[202] No artwork is above being desecrated - all things are sacred.
[203] Poetic art criticism is itself an expression of the poetic, does not explain to the public what to think of a work as though they could not live it themselves, but elicits its own poetic gesture, elucidates, differently, recreates and overcomes the initial expression, subsumes, invigorates beyond the expression.
[204] Intuition is the following of the idea - the whim is its pursuit, constructive.
[205] Poetic Expressionism is not to be found here but created from this -Poetic Expressionism is not being explained, it is being pursued -Poetic Expressionism takes everything and is abolished in every manifesto - anticipates only its own discontinuity.
[206] Poetic Expressionism is whatever Poetic Expressionism is not.
[207] There is no difference between the critic of Poetic Expressionism and the critic of Poetic Expressionism.
[208] It will be undermined anyway - Poetic Expressionism is whatever Poetic Expressionism must be.
[209] The layered stack of transparent mylar sheets, each portrait mediated by the expressions of all others, scribbled through the late nights of the last fourteen days, visible each underneath fading - the accumulation of gesture may be synthesizing or isolated.
[210] A poet pities any moment in history which is not so fully as now an expression of their reflection - pities those who happened to live just a moment ago, who yet did not face that most recent, most developed, that more total expression.
[211] That great heap of mirrored fragments, the negation of the self, abrasion, and the reflection of the self.
[212] Any claim about art which is careful enough to be true is the death of appreciation.
[213] If watched quietly and for long enough, some knowledge may just slink out of this unknowable, that the void of such great depths may be known worthily by the dipping of one's toes, that the meek and hesitant could stare down some human expression like calipers a magnifying glass and some tape - of they who rush with passion, who confess with urgency all that they know and all that they do not know, they who give life painfully not to be lived but deconstructed cautiously in parts - appreciation by technicality.
[214] The autoportrait is the honing of a new mirror.
[215] The artwork, mirror, the antithesis, of the self.
[216] Object sublimation consists in a number of impotent objects, unaltered and materially isolated, juxtaposed with each other through the perceiver toward a specific poetry.
[217] The artwork is born of human subjective appreciation - the synthesis itself is the poetic of the art.
[218] Abolish accurate metaphors - they are uneventful.
[219] The artist does not give form to the intangible, the tensions of living, does not materialize or capture the thing itself but rather posits a life dialectically, an opponent not a path, reflecting-resisting-pointing, toward, beyond what is now lived -not a representation, a potentiality created, a poem.
[220] The purity of primitivism is a weak surrogate for the totality that subsumes nature.
[221] Object sublimation is the imposition of a well-crafted title, object sublimation is the imposition of a well-crafted room.
[222] The action of the unconscious and not its actors.
[223] Object sublimation does not entail imposition toward synthetic meaning, but synthetic movement.
[224] Object sublimation does not render aesthetic the object, but poetic the discourse between objects.
[225] The manuportrait is constructed from the middle, outward.
[226] Object sublimation is a collage held together by the perceiver's engagement - it is the glue that makes the collage.
[227] Two individual persons, so whimfully positioned, may be juxtaposed properly as objects toward an expression, the sublimation of one and the other.
[228] Two panels are always analytical and synthetical, adding and subtracting each other - tension between perceiver and portrait, portrait and portrait, perceiver and portrait-portrait tension.
[229] Poetic rebirth is giving finally some potent form to Malevich's square.
[230] Affirmation by anti-mirror, the emergence through the negation of.
[231] A poet rots for the seed of revolution, nourished of hanging fruits.
[232] One should paraphrase the poet, and in doing so should lay waste all of the meaning, form, and reflect only and completely the gesture.
[233] The gesture is mediated by its opposite.
[234] A poet realizes what they abolish.
[235] The poetic artwork is animated by force.
[236] Rebirth is Dali's Venus de Milo with Drawers, bathed in bronze, melted down and chopped to letters toward some catchphrase, catastrophic, or public-service slogan.
[237] Poetic rebirth and poetic breakdown may be distinguished only in their outcome.
[238] Every artwork is confused and alludes to its surpassing, its end.
[239] Poetry rejoices in poetry, subdues poetry, poetry lives at the death of poetry, poetry does rule poetry.
[240] All that unifies various expressions of the poetic is their difference.
[241] The poem holds the tension between gestures which are finely honed, paired at the chisel's tooth, strenuously laboured toward become, and the gestures of the raw, unfettered whim, the mere rambling, naive to its ending and innocent to its meaning.
[242] Only fast is motionless, fascism is old and boring, only the future is wilting mono utopia, and Marinetti could have been something and Marinetti deserves to be remembered - stale and conserved.
[243] The world as it is, conditions as they are - suffer while living or suffer while dying - it is best to do both.
[244] Poetic Expressionism is the necessary arrival of everything as even one's own ignorance is a means to the dynamism which may be developed by the imposition of their own later learnedness.
[245] What comes next will devastate and ring in the ears like splintered glass that greatest human triumph.
[246] There is nothing sharper to the touch, that glistens or tastes more metallic, there is no moment more deserving of the pain this generation will endure - no finer task - there is nothing more human than revolution.
[247] This moment will erupt - oil seeping through the cracks now flooding that neglected flame - like tidal wave rushing closer threatening a final darkness - this is revolution for survival, the great struggle to live and trust the courage of a generation that has no other choice and trust in the movement of a generation forced to act, the sincerity, the earnestness, the honesty of a generation facing so global and so intimate of death.
[248] Enlivened by necessity - sublimate doom.
[249] Revolutionary art abolishes the old by example.
[250] Art is a basis for action.
[251] A cohesive theory is a static theory - correct ideas are static.
[252] Strike not at the heart but through the mouth clench down on the new tongue of each institution and do not let up while performing surgery on every organ in every direction and working toward new limbs.
[253] Labouring over the stream of consciousness.
[254] A poetry concerned not with accuracy, but precision, severity.
[255] The structure of the mind is never not an allegory for social organization, and love for appreciation, and lust for expression, and the movement of nature for progress in life and history.
[256] Art imitates nothing, governed by necessity.
[257] When all of the revolutionary class are poets, the movement which invigorates a generation lives and dies in sixteen minutes.
[258] A poet holds on their shoulders the weight of the glass at their feet.
[259] Striding and gating toward movement, a mass accumulation of sentiments.
[260] Poetic Expressionism is the art of the organ donor or the transplant surgeon.
[261] The mirror is ever growing, changing overcoming, a wholly dynamic face - opposed to the rigidity of the straining canvas.
[262] Mass accumulation is Schendel's Objetos gráficos, letters arguing through each other.
[263] The aphorism burns well, burns useless and ignites the next.
[264] Mass accumulation is the voices of Black Mountain College arguing through each other.
[265] The impressionistic form is the anti-mirror to the movement that it expresses.
[266] Art without ambiguity or blatant contradiction is at best a purposeful corpse.
[267] Momentum is one-dimensional and of the past.
[268] Art must be brutal - art must not only question - art must win.
[269] Between the automatic poems of a struggled spring and that which streams with passive cowardice, void of resistance, resist the desire to sink with the valley look inward or outward when the other is impossible complicate the imminent blockade - when the brush is wanting and waiting, wanting to compromise, submit, the key lodged and pinned, the sentence harsh and stiff - down the work now -that the explosiveness of the expression accumulates between breaths, either to be exhausted by the gesture, or abandoned of an impatience and toward the dull and toward the flat.
[270] Poetic Expressionism is synthetic cubism, building toward not image, but movement.
[271] Double autoportrait number one decimal seven through autoportrait number one decimal three, the oily black stroke jumping from the navy burgundy grey, that it is simple but sharp enough to cut into and through the mind, that it can find and confound and consumed by that directional source of beauty.
[272] Paint fast when it serves the expression, paint slow, employ the arduous or the automatic when it serves the expression, paint on canvas, on the floor, paint the snapshot, paint the auto-destructive, the impression, paint the explicitly representative, the mechanical or beyond control, the allegorical when it serves the expression, metaphorical, symbolic, conceptual - that which does not serve the expression, when it serves the expression.
[273] If the movement is most totally expressed by the form of the auger or the trumpet, or by oil-soaked pigments over Belgian linen, carved in marble or pewter or flame, whatever serves the expression.
[274] Poetic Expressionism is the echoes of Stein, sans repetition.
[275] Style or voice is stagnation - one agreeable sensibility taxidermized - poetry only grows.
[276] Painting does not create space - it imposes on the space in between.
[277] The world gets fuller with art, greater order and articulation.
[278] The age of good poetry through bad art, good poetry through bad poetry.
[279] The subject of the work is not behind the object, but between the object and the perceiver.
[280] Some greatest expression, or an ode to the canvas, the formally conservative and gesturally revolutionary.
[281] Like spoken word of Sue Tompkins, an automatic cubism, not only does it ramble, it repeats.
[282] A work of total revolution, the complete abolition of its whole history - at least one of these every few months each, a Black Square, a Brillo Box.
[283] Fragmentation is the art of the poet - unification is the act of the perceiver.
[284] And Baldessari's cremation serves some example: consuming: all future works the creative destruction of all works hitherto.
[285] The history of art is the anti-mirror of its poetic future.
[286] The poet must not dissolve into the fragmented and unified milieux of contemporary art, while yet overcoming the form of past expressionisms, reborn through, and still not only toward novelty.
[287] If critiqued, none shall look back at the poetic work and only prod, lift at limp limbs, say: it is not this, but the critique itself which is lacking - no, the poet only builds - defend only principle, on to the next.
[288] There is no need for critique - show them revolution.
[289] The immersion of the mirror - the perceiver and the form performing as the perceiver watches.
[290] As a fragment which splits similarly in two, the cubist repeats similar fragments twice, the Poetic Expressionist repeats two as opposites - and there is a third.
[291] Art is a democracy between expresser and perceiver.
[292] Art is a struggle for greater completeness.
[293] Plain language poetry - a poet does not require rhetoric - there is any number of ways to evoke any given implicit movement -implicit truth ought to be mediated only by explicit truth - great gestures only by great concepts and great forms.
[294] Analyze the painting toward redundancy and judge aesthetic movement by the precise measurement of its form.
[295] Every work of art is three revolutions.
[296] The first mass-produced poetic vacuum cleaner did not only express a representation of the memory of a recent conversation, was not only an allegory for naive wisdom and new madness, was not only inscribed with precise and accurate instructions, but did, in fact, vacuum.
[297] Life-saving surgeries will be performed using potently painted instruments.
[298] Send new scientific graduates into old galleries and museums to paint the art over and toward perfection - perfect the ratios, calculate ideal colour combinations, cut-up and rearrange according to strict methodology.
[299] The tension between the self and a landscape may be expressed by a painting which pictorially resembles the explicit qualities of the landscape itself, or by a series of concentric circles drawn in chalk over glass.
[300] Pick apart Poetic Expressionism and reduce it to nothing more than a desire for life - life liberated in scope; life sharpened in intensity.
[301] Any written word that allows mercy to the potency of gesture, that drags along waiting in that last leg to commit the meaningful act, shifting through empty ritual, void of force, brilliance drive and desire, is always and ultimately hollow no matter how evocative this final coat of varnish.
[302] Photographing a portrait of one person which is a portrait of another.
[303] The autonomy of art is of the gesture's role in its own creation.
[304] The perceiver must crack their fleshy shoulder against the dry paint, must run and throw their body whole against that locked door between themself and the fire - fists raised, must lose fingers and knuckles to splinters slam cymbals shoot pistols and claw and stare down with an intensity sufficient to hold in some friction at the depths of the psyche Coltrane's Ascension and shouting and gasping for air and grasping for the surface, and flying limbs and ripping and tearing at joints until either they both burn or they both stand quietly.
[305] Aesthetic appreciation fought and won is to the perceiver that their resistance is potent and fruitful, that their independent action wills aesthetic histories into becoming.
[306] Again writing insipid essays like kicking the corpse until its posture appears lively.
[307] To exhaust the subject matter has only been to capture its form, its feeling, its concept - let now the whole discourse be devoured, leave nothing unsaid of total relation, be that painting of the whole situation - let the fullness of the movement aflame that furthest of horizons, the tensions of the self and the other, and let this representation finally satisfy what has hungered so many in madness not only for centuries - that fullness of expression - to exhaust representation.
[308] Ask for nothing - take everything.
[309] The time in-between, when dreams are still typed-out on cardboard: when the flames are taunting dancing faster toward the window -when one becomes trapped between the consuming order of the unconscious and the mass of conscious apprehensions.
[310] Write what is invigorative through juxtapositions of the sterile and the uninteresting - hold the form to the flame.
[311] What is the point to a dialectic of writing if not for building life through death - what is poetry if only to bring life to the living - where is the art if not in the vigorous appropriation of that lacking or the ordinary.
[312] Leave the artist, thieve the art.
[313] Art and life in intercourse.
[314] The influence of a poet's life's work will be measured in the degree to which future works are dissimilar to theirs.
[315] The age of ages is over - nothing so uniform, continuity - let there be only so many poets, and at least a few more poems.
[316] The same aesthetic movement may be expressed using any degree of gestural complexity - the movement accumulates as the gestures dwindle and their lonely precision is cultivated.
[317] The great painters of today create not great paintings, but precise copies of some old great painting that never existed.
[318] The spectacular masterpieces of today build on their core and are hollow.
[319] Picturesque, lively-esque, revolution-esque.
[320] The anti-mirror does not reflect.
[321] The picturesque has a monopoly on the aesthetic and there are only two kinds of art - the picture formally reminiscent of the Picasso, the assemblage conceptually reminiscent of the Duchamp - pictures or performances reminiscent of picture or performances and never of life itself.
[322] The anti-mirror is the sur-mirror, a synthetic looking device.
[323] This Art Carcass Exchange program allows galleries, museums, and private collectors to confess their most grossly embalmed artworks for resurrection by one of the ACE's various in-house poets, free of charge and for the good of the starving public.
[324] The individual anti-mirrors and is reflected in the collective.
[325] The artwork remains relevant is that it failed to invigorate those revolutions to make it history.
[326] The present anti-mirrors the future latent.
[327] Old art grows more vigorous, its truth its shadow not faded and deepened by the explorations of later artworks.
[328] The heap of glass the anti-mirror gestures.
[329] Realize an art of revolution, a revolution of art.
[330] Abolish old art.
[331] An aesthetics without emotion and indifferent to form is the beginning of Poetic Expressionism.
[332] Toward a philosophy alive to its truth.
[333] A generation alive to history.
[334] Toward an era of the poetic arts.
[335] Subsequent to fine art, subsequent to contemporary art.
[336] Poetic expressionist art ought to be of revolution in its expression, about revolution in its content, and for revolution in its form.
[337] The poet argues against the poem as they write.
[338] The lifeness of art is its expression, the meaning of art is its proposition, the purpose of art is its action.
[339] As the abstract expressionist attempts to abolish the object; their subject, the emotional state, the universal, the ephemeral and the absolute - an object is invented in the mind, and present again some metaphor characteristics mirrored of pigment and mark.
[340] An academic poetic representation: strict poetic-portraiture, the tensions elicited exactly - there are poetic liberties to be taken - tensions juxtaposed toward further tensions.
[341] Any desired tension may be realized by the manipulation of any single state in relation to any other.
[342] Each totality in particular may be realized by means of only exactly one composite.
[343] All that may be expressed through the sensitivity of any culturally progressive issue-based performance art may be exactly expressed too through colonial portraits of the unreturned gaze, fascist propaganda telephone commercials, and twenty-second century impressionist landscapes.
[344] Art initiates life.
[345] The structure of poetic art: only as the weaved basket is trudged through, as it integrates extradites converses confesses -discourses - does it become enacting.
[346] The artwork is pregnant with its own overcoming.
[347] The function, the act itself which these abstractions represent.
[348] Liberation is obvious.
[349] Do not merely juxtapose existing dogmas - transcend them.
[350] All poetry is collage.
[351] Total collage, mass accumulation, indifferent subsumption of all formats, all modes, building always perpetual overcoming and finitude - toward significant expression, whatever.
[352] The work of art accepts its death in culture to ensure its life in history.
[353] For the work to accept its own annihilation, it must reject its own annihilation, and not be itself a perverted leech on the belly of whatever overcomes its obstacle, what creates through its destruction - complete the act, take the movement to the end, there must be no colouring books for the artists of the future - take the gesture to its end - somebody has to, a poet does not want to work with the poet they annihilate.
[354] Provoke the future.
[355] Art should be killed, art should never be deprived of life.
[356] The old is not criticized for being old, but for its specific failure - for not being new.
[357] Create what is new, and not just what is not old.
[358] The substantial whim is irrationality with a rational, purposeful possessivelessness.
[359] The whim has purpose - whimful food which can safely be eaten, shoes produced in pairs, appliances with useful buttons.
[360] That sentiment repeated among many art-makers that the artwork does move the artist, becomes itself, that the book was already written, that the sculpture was already in the stone - the whim is unconscious and other - the autonomy of art - and the whim is laboured arduously.
[361] Heaved of the unconscious, wrenched and distorted.
[362] The greatest of expressions are jolting and redundant without hesitation - insipid works of theory still in print months after publication, works yet to be appropriated by the masses, still considered patiently, not yet disgraced, fail to move against the test of time.
[363] Poetic action: to the poet, the greatest honour is to be forgotten.
[364] Art must grow.
[365] The future must be new.
[366] Toward aesthetic progress and not conservation - make the future history of art a public endeavour.
[367] Always revolting forward, invigorating a subjectivity after the author.
[368] Interactive art subverts the relation between artist and viewer only in permitting the viewer to impact the quality of an existing object dictated by the artist in a manner dictated by the artist on a surface dictated by the artist in a context dictated by the artist.
[369] Do not make art which comes with instructions.
[370] A poet enters the galley like a ballet, axe in hand.
[371] Read not what is written, what is carved, painted, but what must be.
[372] No work will ever live long enough without shedding its skin to see the stiffness of its natural death - kill the expression before it is forgotten, let this new expression too in its moments of birth be shown only once before harpooned with that riveting contradiction -something more free.
[373] The invigorative sterilized in some way agreeable, or empty dynamic falsities as a surrogate for revolutionary truth, to orient the poetic expression toward an appreciation as mere escape - to make the revolution of poetic art not an aspect of but a substitute for living the revolution itself - and if not relentlessly overcome, capitalism feeds gladly on the left to rot.
[374] Do not neglect to appreciate and do not over-extrapolate the congruency between the revelation of art and the revolution of material history.
[375] If welcome within the gallery, they have not done enough.
[376] The performance of destruction is not an aspect of the destroyed work - the destroyed work is an aspect of the performance.
[377] Exhibitions, once a robust enough movement becomes establishing, may no longer remain mere performances, and must result in the absolute democratization of the gallery space, must assert an autonomy and only grow.
[378] Abolish the gallery, and demand that all spaces be galleries, and that all spaces be governed by the purposive and considered whims of all people.
[379] A poet runs backwards forward, through the future through the past.
[380] Some future irreverent avant-garde will undoubtably consist entirely of art conservationists.
[381] Poets will occupy the gallery, will be puppeteers hidden in taxidermy - render lively the flesh and exotic fur, that spectacle of beauty.
[382] Abolish private art.
[383] Let the gallery be a place mostly of paintbrushes, chisels and knives, and occasionally of canvas.
[384] It is not the person who dictates the creation of the work who should be cited, nor all people who had some or another part in creating the work, but only they who are last to stamp their whim, to appropriate and subsume all previous gestures toward a poetry of their own.
[385] Death drives the artwork.
[386] Institutions like poets, unified and fragment, subsuming and whatever, despecialize the institution, realize and use the institution whatever - poeticize.
[387] Like the work of art, a poet is exactly as they must be.
[388] An archetype, a total.
[389] The aesthetic subject.
[390] Old art is not needed.
[391] Not the art which is here, then is destroyed -which only dies- but that which is perpetually birthing.
[392] Death is static, these works only move.
[393] That which is perishing and accumulating, enduring its own fleeting.
[394] There is no better way to know a Rembrandt than with fragments of frail and dusty fabric at one's feet.
[395] Abolish history and realize history's future.
[396] Let the museum become the place most intimately to learn art, to learn colour with scissors and a Van Gogh, and by painting a gadget in the hand of some Picasso or Pollock.
[397] A diversity comes quickly as it is acted directly and freely.
[398] All things belong to a poet.
[399] Appropriate the future.
[400] Subsume the future, the future now.
[401] Poetic Expressionism is not the synthesis of all movements hitherto, but of all that is yet to come.
[402] The end of the end of art - the death of an art which only dies, birth through this era of waiting - some new era in art, finally becoming, art after the contemporary.
[403] Total synthesis of art and life - pre-enactment of life - action of art - a new and total poetics.
[404] There is no clearer picture of liberty than that of a whole public not only granted the privilege of appreciating works of art -at a distance and within the bounds of a determined mode of appreciation- but free to express in total whimful fragmented independence and in absolute unified collectivity whatever they must.
[405] Create an art which is lifeless in favour of a lively life itself.
[406] Art will express, and not only be mediated by, all aspects of life -all activity expressive of aesthetic movement, all movement pregnant with life.
[407] As Dada was freedom from the past, Poetic Expressionism is freedom of the future.
[408] The artwork is collective when everyone is the dictator.
[409] The appropriation of the appropriation of the appropriation begins a myth, a collective expression - total and accumulating and not reducing or pure, constant revolution and not conserving.
[410] A new myth, total myth - through history and beyond history.
[411] Every revolution is simple and grandiose.
[412] Great poetry is unable not to be revolutionary and in that first moment, emerging not a thing of the past and in all subsequent histories - held - taking turns carving phrases in colour, toward the front of history.
[413] Revolution is simple because revolution is necessary, whether or not it is simple.
[414] Art is before the beginning of the act.
[415] Art reflects and two subjects rejoice gushing filling lighting building upon spilling life pushing an intensity upon a dullness.
[416] Poetry is mediated by vulgar perceptions - poetry happens in the mind and out.
[417] Poetry confronts the logic of capitalism.
[418] Revolutionary in meaning and revolution in means.
[419] There is an ecstatic freedom in what form the expression is to be mediated by, but the expression itself, the expression of liberty, the self-ruling, is so ruled and to such a point, a fine point, a sharp point, to a precision of specificity so oppressive a poet is directed in consuming desire, that there is exactly one expressive act, that the liberty of a poet is singular, that the liberty of a poet is to express only exactly what it is that they do or must express.
[420] Poetry is ruled by liberty.
[421] The shape of poetry to come is the Windsor chair of sugar pine and American hickory, spindles glazed by a sequence of boxwood spokeshaves and a seat severed glassy with the finish of the known travisher.
[422] Use pre-industrial, industrial, post-industrial means: whatever serves the expression.
[423] Do not only abolish the present: create the future: live the revolution.
[424] Against the work which is once and repeating, the expression prolonged and unchanged, what is not generational, what is not producing or reproducing but only repeating restating, against the expression from the past printed still now, against the repetition of the press.
[425] Tattoo subsumes skin, shoes subsume, posture subsumes.
[426] Libraries will be the place where books are written on books.
[427] Each copy will be printed with a different text.
[428] Each copy will be at an expressively potent difference, and not only some technicality individuality.
[429] Wear rawhide hats cut from early ancient drums.
[430] Wear Guernica as a cape.
[431] Wear some Mitchell or Martin as lined deerskin gloves.
[432] Take some Jorn to the cobbler.
[433] The press repeats and creates nothing: to deny action, self overcoming, to deny not only life, but death itself.
[434] The printing press is a useful means to the dissemination of new gesture, and one easily and quickly overwhelmed of revolutionary impulse.
[435] The purpose of good design is not to give the impression of an artless world, and life can never be too imposing.
[436] New copies will be cut-up and positioned, passed around - after reading once, left for the next to see, but not in its original form - each text will be altered by the reader, then promptly distributed.
[437] Hurled into burning buildings, laid to rest blanketed in wool, recited in part inciting in part what comes next, under train stations, the desks of public schools, reproduced in code and snuck into prisons and casinos, each text will live and die and live again new generations.
[438] All expressions of the future are manifestos and self-portraits.
[439] Painted over, pictured, burned, the annotated poem, copied and pasted, pasted over, rewritten in new words or in images as opposed to words, in gestural marks, communicative marks, growth scars, Marx, the text creates itself new life.
[440] The manifesto, which began with only a number of writers, will have disappeared entirely, replaced by a thousand anew, a collective rewriting which will itself last only a moment before too becoming overcoming again and again.
[441] Poetic expression toward a new mass-production.
[442] Good design makes the perceiver question if they have it in them to win the fight - and often they lose.
[443] All books are blank canvases, and all painted canvases are blank canvases too.
[444] Even the first generation creates everything, deserves its future through invigoration.
[445] Good design is brutal and productive.
[446] Good design is alive and creating.
[447] The poetic book is written and printed and disseminated en masse between dusk and dawn - revolution takes place or does not by lunchtime.
[448] Art subsumes life subsumes art.
[449] The popular press will not be left dominated by explicit fascism -words ordered in domination and without life and without liberty -will remain occupied, and like all else, pursued beyond from within and from without, realized and abolished, appropriated in totality -impose of every direction.
[450] Uniforms will be assigned, and none will resemble any other.
[451] Poetic shoes are found within art galleries only when worn on the feet of a visitor, and lavish poetic carpets are within galleries only to wipe one's poetic shoes with.
[452] Art asks for nothing - art takes everything.
[453] The society of the aesthetic.
[454] A pedagogy of the poetic.
[455] Any poet must simultaneously resonate in the sentiment of the now masses and invigorate in its own first instance the collective sentiment of a future.
[456] A poet lives in their home - paint the walls red, carve the names into the ceiling, appropriate the art on the walls, appropriate the windows, drink from glasses of fur, pull up the hardwood pull up the tiles everything is a mirror.
[457] Through poetic appropriation, the press will be the writer's gallery: the détourning of old books, new books which invigorate their own détournement, an infiltration or a critique, a theft, used bookstores of one thousand books and the meanings of one million readers, every new colour, no discernible text, no author, no mere receiver and against the oppressive relations of the expression of poetry.
[458] Give form to revolution.
[459] There is much yet for every individual, much now - new and revolutionary art, theory and criticism, invigorating approaches to the psyche unfettered experimental self-interrogation, yet unimagined and unimaginable poetic performances, protests, revolution in culture clothes food pronunciation, revolution itself.
[460] Eight billion poets repeating nothing.
[461] Eight billion toward liberation, eight billion who discuss small matters among close circles and who speak publicly only to declare the beginning of some new era, who speak subtly and imposingly through all things which are created, who laugh at the demagogues and charismatics as their rhetoric is quiet and boring in the face of international revolution.
[462] A poet today perfects life even as they starve - the poem imposes.
[463] The poetic archives will be dynamic and multitudinous and participatory and emergent, subsuming and change, and birthing and opposed to anything the archival.
[464] The archive is fertilizing, a gestural history growing.
[465] The streets and the offices and the libraries will follow - factories will be gutted and organ-ized, compelling structures the institution the instruments governed and not governing - walls are plastic as paint polymerizes - the poetic arts lives and fortifies in every struggle.
[466] To be an artist is to make organs out of guts.
[467] Which will be the most allegorical convergence of fine and poetic art, the wedge on that paradigms teeter, the battlefield, an outvasion - and every riffle pointed in is a cannon pointing out -mortar or linseed or marble - galleries everywhere of historic art erupt fluting passion enacted the boldness the arrival of an era.
[468] Building local movements and never building small movements.
[469] The Poetic Arts is the movement beyond the Fine Arts, and beyond Contemporary art - beyond the conceptual and without returning to the aesthetical - a new mode in the history of art organized around the poetical expression of the work, the implicit movement, rather than the formal or communicative.
[470] A distinct era in the development of art, the constructive resolution of the antithesis which was contemporary art to the modern or the Fine Arts.
[471] The postcontemporary, in its moment of novel reconstruction, universal subjectivity, relative objectivity, and fragmentary unity, is the age of the poetic arts.
[472] Critique is fine - enact a new era in the history of art.
[473] The intercourse of art, rather than any particular discourse, the unity, the totality of the art and its situatedness - a universal poetics constructed as the interaction between the old modes of art which fail or do not attempt at universality.
[474] And plain language art criticism: the critic finally creates that which is simultaneously about and of the work toward which they are critical.
[475] Art subsumes, not evades, the law of modest truth.
[476] The gestures of the work, the self-determined, determining, are built toward by particulars which are in no way principle to the expression, and which must stand every burden of justification.
[477] Organizing, crafting elaborate spontaneous situations, one thousand poets alone in one thousand rooms, without orders, walls, without one dictator thinking for the eyes on one million, without taking turns, without hesitation, with every resource fully engaged, every situation anew, every revolutionary act fully known to its actor -every poet a fragment and every poet a unity - the total collective power which is, every poet in themselves, for revolution.
[478] A unity of fragmentation, a revolution of perfect order and anarchy.
[479] One among the massiveness of eight billion subjects of history.
[480] It is easy to make art in delusions - art for revolution is sober and responsible and communal and an ordinary duty.
[481] Poems express great revolutions and yet poems are honest and helpful.
[482] A poet is great and yet a poet also ought to be good.
[483] There are no leaders, and every one provokes.
[484] Today is the age of the revolutionary, eight billion revolutionists -take narcissism.
[485] A life of liberated and potent suffering is a great life.
[486] Everything is only ammunition - take this generation to the end, all its tendencies total in revolution.
[487] A poet not in solitude, poets rejoicing wild conversations of action.
[488] One thousand poets in march, chanting through the moment each their own automatic poem a unified fragmented mass.
[489] One thousand musicians in march, working each their own song ancient war instruments of a different generation a collective of independence.
[490] The protest will be insurmountable, unknowable, and irresistible of its poem - they will fall in appreciation with the protest, must become gestures within, and will appreciate as it unfolds and as it captures their independence.
[491] Great art violates the perceiver's freedom not to appreciate.
[492] Poems impose to the extent they are imposed upon.
[493] Poetry imposes especially on the passive the defenceless.
[494] Poetry recognizes a potentiality not to join, to be merely a part, but to realize something beyond - not seduced by the masses, but propelled to overcome through the masses.
[495] Poetic resistance is walking the street in strings of contradicting garments rescued from museum of early European fashion, crafting simple lively retorts to the repetitions of daily conversation, daily orations among comrades and fellow poets, crafting from tree to the handle of the axe and painting town hall with the residue of pioneered psychoanalytic phenomena.
[496] Meet their weak violence with a poetic overwhelming - but an anarchic vigour and speed and wit to organize and surround them and make them what they thought they were fighting.
[497] A poet fortifies their means of aesthetic self-defence - cultivate the expressive and appreciative faculties of the revolutionary class.
[498] As all activities everywhere are active and imposing - poets live the revolution.
[499] A poet rejoices in the revolutionary, endures the revolution.
[500] Art is a full void.
[501] A democracy of active and imposition.
[502] Create the gesture which is somewhere between now and the future.
[503] Appreciation is mandatory.
[504] A poet seeks no purity in what they ingest, is invigorated by the truth of what is true and the falsity of what is false, takes in the fascist, anarchist, and appropriates them all like history.
[505] Toward what it provokes - toward the end the end itself.
[506] Liberty and concentration, a more liveliness: the role of the poet is simple.
[507] Total liberation is simple.
[508] Democracy and whatever it may bring is simple.
[509] To create is desire for revolution, the appreciate is desire for utopia.
[510] Expressions are limited by psychic structure, oriented in relation to history, and selected by a sovereign will.
[511] Poetry is historical and objective.
[512] Poetry is ahistorical and subjective.
[513] The gestural discourse itself, the expression of the work, not the parts but their movements, is universal and independent of psyche and of history.
[514] The poet is disinterested with the effect of their work on history, and is concerned only with the liberty and potency of their gesture.
[515] This discourse of the work in itself can be derived only from a total and complete understanding of the context of the work's creation.
[516] Poetic art against essence.
[517] The poetic content of the work itself is a particular activeness which is able to be expressed perfectly by means of any collection of objects and under any condition - and, to the extent that the initial expression of the movement be appreciated with sufficient knowledge of the totality of its context, of the historical conditions, of the conditions of the psyche, of the material processes which translate the expression of its crude manifestation, of the aging of the materials, of the, and, and.
[518] Beyond the postmodern the contemporary - a paper shredder giving birth to itself.
[519] A new art: universal and subjective, subsuming and definite, autonomous and utterly useful.
[520] An art beyond this moment, an art invigorative, an art of the future, a post-contemporary.
[521] Art is historical and the tension between subject and object is universal.
[522] Art is only a mode for the poetic.
[523] There are expressions which are more or less potent, more or less liberated, which understand the movements of life more or less lively.
[524] A generation begged by the future, a conflict so ripe and so great, an unmissable void in the shape of something new.
[525] The poet creates a future of the past.
[526] In some momentary lapse of memory, this moment, the spirit of revolution growing, the power of the people creating new direction, in this moment it has been forgotten not even what art could be, but what already it has been - there were revolutions, there was revolutionary art, and do not remind them with some meager reference: one hundred years have already come and gone - this is no time to reminisce - the revolution is now - this is revolutionary art -create it - their vision is lacking and lagging, call on past revolutionary art only to make it ancient and pathetic in the face of one hundred years of new art - do not fail to match the past in its boldness its liberty: put Duchamp, Malevich, Höch, Tatlin, to one hundred years of- put all old art to shame.
[527] Whatever serves not the expression, but what the expression was for.
[528] Do not make old ideas new - make them old.
[529] Art is the face of every revolution.
[530] Art is the revolution that has not arrived.
[531] Art is the present critiqued to the end, the now empty and confined and teeming of potent struggle, thinly, fleetingly repressed, enough weight pushing down on the spring of new history, power buckling its iron curves curving struggle bursts, poems burst, poets run, people move move, revolutions fought and won revolution liberty liberty break upon the mechanism the people are there the people will wait no longer revolution is now.
[532] Art stands now free of the womb, for the first time animated, create for the first time, life delivered through history - make it as it must.
[533] Critical appropriation, critical appreciation, permeates all aspects of life and the cobbler is seduced in the lasting pliers, tack hammer, roundknife - falling into the leaning into the rosewood handle, stropping burred edge, struggling and reflected in the imposing object, playing in the creation, by toward creation, in the creation, their labour realized in poetry, subsumed in poetry.
[534] We will enjoy liberty - now is for liberation.
[535] Live the revolution.
[536] The future is coming.
Last appropriated by:
- Some Poetic Expressionists, Kjipuktuk/Halifax, 2023.
Forthcoming Titles Of The NSCAD Autonomous Press
The Future Anthology: Interviews and Interjections - The Future Of Art Now - Featuring pregnant discussions with today and tomorrow's vanguard of intellectuals.
The First Poetic Art College:
NSCAD 2023-2030, A Presumptuous History - A practice of newness in history writing.
The Journal Of Poetic Expressionism, Volume 2
- Seeking revolutionary expressions of all kinds.
- Manifestos and enactments favored.
- Seeking two revolutionary journalists.
Archive of a Poetic Campus: Photographic Works- Seeking experimental photographers.
- Seeking artists to create new art using the Fountain campus.
- Guidelines, forthcoming titles: Editor@NSCADautonomous.com
- Pitches, unsolicited: Submissions@NSCADautonomous.com
- Questions, feedback: Admin@NSCADautonomous.com
- Volunteer with the press: Admin@NSCADautonomous.com
Grand Opening Of The NSCAD Autonomous Gallery
Last week of September 2023:
The Lion: Inaugural Poetic Exhibition, Public
Beginning at the two lion statues outside Fountain campus, all visitors will create in the permanent poetic subsumption of the NSCAD lions, among other public forms. The surrounding area will function as part of the livingness of the happening. Expressions may grow and build as they come to subsume nearby forms and to occupy greater spaces through aesthetic or poetic democracy. A new public sphere, a democracy by imposition, an individualist collectivism of great artists conflicting toward a total poetic artwork. The lions will be, subsequent to this opening, not conserved. The lions will continue to be on view to the public on all days and at all times and further appropriations of the collective artwork are encouraged indiscriminately and indefinitely.
This exhibition is open to additions of all kinds. Bring existing artworks to add or appropriate. Bring raw materials. Bring your body and clothes dripping of paint. Pack what you would for a historic happening. Bring tools. Bring rigorous intentions. Bring everything.
See posters around campus mid-September for exact date and details. Or see updates at NSCADautonomous.com in the coming weeks.
- Pitches for future exhibitions: Curator@NSCADautonomous.com
- Questions, feedback: Admin@NSCADautonomous.com
- Volunteer with the gallery: Admin@NSCADautonomous.com