tö säynt öv pöetri

The sound of poetry / The poetry of sound. Eds. Marjorie Perloff & Craig Dworkin. Äntligen! voisin kiljaista. Introdutsioonin perusteella luuletan löytäväni tästä kirjasta monta ajatusnarua sormissa pyöriteltäväksi.

"And finally, what is the specific force of poetry? What will be missed in its absence?"

"Since the early nineties, an ever increasing number of artworks have
been created on the basis of preexisting works; more and more
artists interpret, reproduce, re-exhibit, or use works made by others
or available cultural products. This art of postproduction seems to
respond to the proliferating chaos of global culture in the information
age, which is characterized by an increase in the supply of works
and the art world's annexation of forms ignored or disdained until now.
These artists who insert their own work into that of others contribute
to the eradication of the traditional distinction between production and
consumption, creation and copy, readymade and original work. The
material they manipulate is no longer primary. It is no longer a matter
of elaborating a form on the basis of a raw material but working with
objects that are already in circulation on the cultural market, which
is to say, objects already informed by other objects. Notions of originality
(being at the origin of) and even of creation (making something
from nothing) are slowly blurred in this new cultural landscape marked
by the twin figures of the DJ and the programmer, both of whom have
the task of selecting cultural objects and inserting them into new
contexts."

Nicolas Bourriaud: Postproduction (2005 [2002])

Via Martin Glaz Serup

Suom. kts. Teakin (huono suomennos, näin silmäiltynä ainakin)

Tämänkin tyypin ajatteluun haluaisi tutustua, mutta ei ole tullut vielä. Nyt luen blogista, että käännöksiä ranskasta englantiin ei edes kovin paljon ole, ja sehän tietää että tie nousee pystyyn. Nämä sanat herättivät tällä kertaa kiinnostuksen: "Another prize-winning collection was Voyageurs de la voix (Voyagers of the Voice), 1986, which, as the title suggests, relates to Meschonnic’s conviction that epic, with its close etymological connexion to voice, is present in all genuine poetry as its fundamental historicity; and which also suggests the fundamental relation of the subject in the poem to history and to society in an ongoing adventure into the unknown. Indeed his general critique of all European poetry in the last 150 years is partly what he considers to be its bias towards the lyrical, a tendency he traces to the Romantic confusion of the subject with the individual." Meschonnic Henri (1932-2009)