Hypno-Noumenal Somatrons: hyper-flow ensembles: Part I: Introduction: Metanoids

This is the first of a new series of posts which are made up of poems from my senior poetry thesis for my undergrad degree. This post comprises the introduction, "Metanoids -- Introduction -- Process," which briefly reviews my process and some thoughts about it. Feedback welcome, either in the comments here, my e-mail, or my twitter (found in the "about" section). I'll be attaching pictures to every post which I've mined from two twitter bots, @youtubeartifact & @GlitchTVbot.

Metanoids – Introduction – Process

1. The experiments which follow are poetry generating processes designed to suspend one’s analytical, narrative-bogmind in order to open up new avenues for expression. The experiments are processional modules, languages fed through a set of shifts designed to induce breakages in freezing systems, escapes from the order-word. They are designed to trigger chemical reactions and somatic associations, aiming to push past the junk of the forehead and induce avenues of flight or leakage, pathways beyond the doom of narration. Physical and mental processes are proscribed, the following of which produces experiences, wallbreaking reality fragmentation grenades. Phenomena become bodily, objects webbing through spirals of tentacular vectors which dissolve the line between the noumenal and the phenomenal— experience becomes noumenal, neurochemical, hyperactive along routes of somatic intensity. Each experiment induces its own experiential logos which might be called a pathos, but which is undeniably the oikos, the home, and the soma, the body, of the poem (at some point I want to talk more about the weaving of home and body, with the earth as a non-metaphorical example). The poems reside in this universe, are birthed from the experiential flows which follow from experimentation. World fragments lodge in the brain, carve neuro-pathways, create new spaces for cognition and association. The experiments generate shifts, or breakages, through which sedimented folklores disintegrate and open to a fractal whirlwind of immanence, where associations follow somatic flight paths and lead to, instead of destinations, new spaces, expanding limits into new liminal zones.

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2. Experiments which are associative, somatic, anarrative, and alinear produce inundations of abstract articulation which impress aesthesis without striving for totality or inducing liminal obstruction, conveying instantaneous brain zaps into lyrical assemblages created with effort through the expression of sub-liminal flows. Poetry produced in fragments which lodge in brain-spaces after shifting undergoings are guided after the fact into lyrical ensembles which gesture, instead of grasp, at meaning.

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3. Multiplicities of somatic-cum-noumenal interiority warp between and through generated multiplicities of noumenal-cum-phenomenal exteriority into a modularly mediated fusion of divergent flows which magnetize into an aesthetic product without singular author, maker, or architect.

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4. In the first phase, the experiments focus on sensation. Sensations are repeated, and when repeated, push memories attached to the prior repetition up to the psychic surface, there for access. Déjà vu may be an extreme case of this: when sensations repeat in a series, memory becomes a time-machine, carrying the traveler back to a memory repressed, which moves just beneath the surface without breaking it—déjà vu is the extreme example of sensation “hack[ing] a (phe)noumenal experience and hyperstition[ing] it…to overlay instantaneous perception.”

The experiments are underlaid, or overlaid, with poetic fragments, experiential splices of the memories or sensations recalled to me during my first performance of each experiment. These add another element to the experiment/poem dialectic: while we read the experiments, we are brought into a mind-space, a quasi-narrative of memory-fragments; while we read the poems, they are recast not only by the instructions, but by these remembered shards or clips. In “Heatwhip (percussion),” we get a lyrical flow unhinged from its flurry of images and movements. Yet, when we recall the memory-fragments, one can construct a partial narrative: themes of diaspora, of expulsion, migration, and transcontinental flight inundate throughout, as well as themes of a traumatic past and a frightening future.

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5. In the second phase, the experiments focus on affect and metanoia, which is an extreme form of an affective process. Affect is how something hits us, how a memory-bomb explodes against the chest and blasts one back, or catapults one forward. Metanoia is also a catapult, but a mechanized one, accelerated to the point of absolute extremity. Metanoia is an encounter with an experience which shatters metanarrative, which opens us up to new understandings, new comprehensions of relations between parts and bodies. Memory, or the return of an event through space-time, is a powerful affect that can be metanoic.\

6. The third and final phase has to do with movement. Movement is my final stage of experimentation because it is the conclusion of my system, which, linguistically, aims to resist the stagnation, the freezing, of the order-word and of the major language. In “Transmogrification,” readers are not just asked to ponder, but to move. To exercise minor becomings, to undulate bodies into new forms and articulations. …As the body warps, an image of a Panamanian banana plantation surfaces, recedes, hovers in after-mirage….\