Thomas Lowe Taylor -- UNTITLED

***************


[perceptual defined]
/What is a saying? A poem or made
thing but that which is perceived or
gotten & how but by its manner
can it become adjusted to the
abilities of the person at hand who
also perceives with his intentions to
being (whatever) that he is there in
the act & moment of his flesh?
& what is a poem but that very
same made thing with its accretions
of style & symptom, that, I mean
have to show if the thing is to
become distanced out to some
place resembling where it came off?
(hasty)
poem is act & must shift accordingly
to retain the distance traveled, it
must recreate in the memory of
the reader the kinds of moves
by which it came to be, it must
be a record and a thing
simultaneously--

Projective-voice-breath scheme restores
"poem act," that is of composition, to its metabolic
relation, of act & body. Inasmuch as, hwvr,
Rhetoric involves a Distortion of a continuum (via style)
toward the establishment of tht cont. whch
means that the form (poem) & the ace (comp.) are
not the same always tho strive to be always in
their mutuality of person to achieve balance.
so there is consciousness to account
for, in terms of line, distribution, redundancy,
image, whch is to say that the comp-act & the
read-act shd resemble, & it is at resemblance
that we always differ toward other-ness &
whch gives the effort toward one-ness (whch
is what poetry is) its percepts.
one sees, the other
is Blind to all but resemblance.

The perceptual mode would offer itself to
the poet & reader as co-compositors equally &
imply some reception to acts, that they are not
"explosions in a vacuum", or ego thrusts only.
There is the functional, developmental requirement of
personal growth that announces to attention,
locally & culturally (cf. Rank's Art & Artist) whereby
acts of self review the entire act-event definition
of the culture (sic.) & the heroic plays itself toward
some correspondence of terms wherein an entire
complexity exists by suggestion & definition. Attention
to any process of perceptions, for instance, would
have a center suggested by the ways in which
kinds of syntaxes revolve, hit, suggest & spin,
which is to say, that attention perceives from a
center and permits itself more & more to be shoved
around, all toward establishing a certain
relation with itself which is viable & absolute
& not exclusive.

[technique]
Syntax by its very nature exists through
the continuum of consciousness, the feminine of
reception. An essentially male or procreative act
yields utterance as the child of consciousness.
So we are in act, distributing toward the abstract
where a unitive measure would expand the poem
by the suggestiveness & distribution of kinds of acts
across from versatility (purely, a style) to confidence
(a context of styles); so we should distinguish
cleverness from the cynicism which isolates it
& find those moments wherein distortion
serves to create the poem (eg., relation).
"Tree-foot," "Tree-Brain," "tree-Toad" etc.,
differ, first, serially, but, finally, as things in
the world. First as images & finally as events,
that is, where one comes first upon the energy to
generate such relations and finally where style
activates the consciousness under way toward
further acts, ends & means conjoined in
extensions of behavior.

A style is also a behavior. What the
technical means in the poem as an act is that
a poem should not be the same throughout,
but should move in parallel with the
energies which have brought it about. "Concretism"
establishes that poems are things, made, and that
they lie to the perceptual in their seeing, though to
the extent (seen-things) that that is their content.
they are less than poems, & it is here, with
content & style that we confront abstraction, perception,
time and the meaning of acts. It is the intent of
a perceptual and abstract mode to act on the
person underway in such a manner as to coincide
the time of seeing & the act of seeing toward that
experience we usually refer to as space (simply,
the absence of time).

[stations]
internal developments (style & time) should
accurately follow the incursions of energy which
move the subject (person, poet) through the episode
of composition, should cause "movement" (in
relation to a center) by which he sees an
advance through to the real. The so-called
veil of consciousness is removed and light enters
from an exterior space. Motive & act combine to
cause. So the "problems of illusion" continue
only so long as an act is content to achieve
& retain the metaphorical ("a poem is like...").
Inasmuch as an act is an event, it is not
"like" anything at all, and the whole developmental
situation of resemblances (eg. metaphorical cnscnss)
persist only so long as choice rejects its own
perceptions.

So we have heroes of choice.
in the mandala of development (achieving to a
round or continuity of consciousness in space).
Then, we come to a notion of "the stations of attention."

The concept of stations of the round
suggests that the passage (through) is legible &
that it occurs throughout any archetypal consistency of
types (eg., in a community); so we might read
Gray’s Elegy etc. as a precise statement that
poetry is far less exclusive in its hierarchical ambitions
than we now hold it to be; or any act yields information,
but inasmuch as our heroes of poetry yearn after
the visibility of being-in-the-world, we have
elevated them statuelike as carriers of a dogma
which overcomes itself not to silence but to an
abstraction of acts which is personal. The point
here is to yield style & voice to their proper
figurations: to insist that the means of the poem
be included in its forms of development just
as any secrecy be overcome in its achieving to space.
Where person yields in his distortions (those which
he can control) to become world & image.

[love]
It is love as the center & light of being
seen, first as "something one says" & finally
as a technical manifestation, that the act
of composition includes toward its development
just as it contains the energy which gave rise to
it in the first place. The alchemy of acts, that
they can be contained, is seen to yield energy & information
(they are the same). It is not so much, then, a matter
of what is seen but how, not what the images are
but of how they are rendered with respect to the
consciousness "at bay." In the conflict of opposites,
image & person yield to a constancy of states
which include image to their pattern.
The thing to object to, finally, is a
poetry exclusively of voice or image which does
not include the event of the poem in its
vocabulary of development and which does not
include the event of its development in its vocabulary.

Love & Magic, moment of act
As self-voice, as not over-heard
meditation on exchange of
real qua real, it
is voice of person speaking &
being connected, voice to ear(s)
in circuit completed
which has
causal effect on person reading
& listening, is
(cnscnss<-->cnscsnss)-->one