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The Contingent Nature Of Authenticity

Poetry West Meeting, 05/0212009, 10:00 A. M., Colorado College, Worner Center Room 213, Topic: "the Lyric Essay,"

There are two kinds of prose essay, but it could be considered a lyric essay if a tract were to be reconfigured as a poem with rhythm and rhyme or as a song with chants and reiterations or refrains. The purpose of an essay is to convey an impression to the reader. This might be less than an image or fragment of an image. It might be a compilation of fragments intended to be poetic.

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When the intention is didactic and meant to serve in an emergency or under conditions of pragmatism, the effort is factual. Severely factual tracts serve poetics in the same way they serve philosophy or science. The literary thesis is developed, culturally, as a theory to include in the Theory Of Literature as the Theory of Poetics. The relevancy to the subject is wide ranging to include the idea of Linear Algebra as the prototype of written language, the formal ideas of syntax, grammar, vocabulary, and the Theories of Content: developments, tracts of history, and contemporary results.

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There is a Subjunctive Epistemology by which the severe criteria of Poetic Science is separated from the liberal criteria of Creative Imagination. In poetics, there is the opportunity to include not only tracts of factual, pertinent knowledge but arbitrary juxtaposition of facts to make an irrational presence.

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The most important elaboration derived from the serious thesis, in terms of the poetic, lyrical essay, is the ability to convert the Surrealist Contradiction from the analytical to the imaginative design. The essay becomes an illusion in emulation of didactic science yet removed to the realm of the impractical.

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A poetic essay can begin with fact and convert to an interior stretch of ideology that departs into fiction and, from there, into the essence of lyrical nature with subtlety by absurdity or meaninglessness. In this context, the indefinite form is solved by the alchemical device of no relational presence. Especially, the contingencies of ugliness or beauty can be used to determine the nature that should be satisfied by the alteration.

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In Fine Arts, the result is a permutation subject to inductive momentum. One idea carries forward to the second idea as a metaphor. This is an automatic exploration of the inertial percept that has been devised. The test of reading exposes any induced logic or aesthetic surprise.

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Factoring these, the logic becomes a part of the Poetic Thesis while the aesthetic object becomes an icon of continuing tactics and strategic repertory. Anything can be subjected to divergence from the paradigm of fact versus fiction. The Surrealist Fantasy can fabricate norms emulating mathematical formulae, aphorisms, advisory tracts, or officious documentation. The result will then, as intended, be humorous, curious, beautiful, and perhaps even transcendent in the logical sense.

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The significant problem is the phenomenology of schizophrenic plagiarism, and fraud, which endangers the body and soul, the individual and society. Thus, there are specifics of honesty which are exclusive. With this reservation, it remains practical to distress logic for the sake of the ludicrous or illusory effect. It should always be apparent which is theory, which is hypothesis, and which is expressive such as cartoons, caricatures, eccentricities, and curiosities.

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Such can be emulated as relics, fragments, artifacts, and instruments but the counterfeiting by such means, in that it is criminal or judicial, is withdrawn to a forensic archive where it is not destroyed but maintained, studied, and used in reference.

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This resolves a controversy such that we have archives of the counterfeit,

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Ct. PE Joseph A. Uphoff, M.P.A., Litt. D. (0610212009) F 06/04/2009

X'VEliW AgEIIoEl EWEIDEN archives of science, and archives of the artistry. In this Epistemology, the three are not intermingled, confused, or confusing. Nevertheless, the classification is contingent remaining a matter of irony or confirmation. The usual rules of annotation, allusion, reference, and honesty apply. Poetics is expected to convey a false root as the pataphysical artifact which determines the form in the nominative case.

Count Senator Joseph A. Uphoff, Jr. Grand Council (World Parliament ) Academic Council ( London Diplomatic Academy, H.E )

Hon. LLD, D Div., Hon. PhD; M.P.S., Litt. D. Hon. Professor: Fine Arts, Documentation, and Mathematics

Deputy Director General ( International Biographical Centre )

Editor In Chief, Journal Of Regional Criticism Executive Director, Arjuna Library ( Full

Accreditation, Madras India ) Yudansha Renshi (Isshin. Ryu, Shorinji, Yoshukai; USMA )

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Contrast Between Writers And Recitalists

Poetry West, Ashley Crockett, Seminar On Memorized Performance and Recital, WES Room, Colorado College, 04/04/2009, 10:00 A. M.,

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For this lecture demonstration, Ashley Crockett was interested in awareness of lighting, control of thematic movement, dynamic expression, voice projection, and memory internalization, but she was also sympathetic about the problem of cold reading. Since Ashley Crockett is an experienced, excellent actress, she was emphasizing the performance aspect of the literary paradigm.

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hkri © X'UTIDEN The interests of social interaction favor the aspect of automatism by which the performer can be distracted by emotional tendencies while maintaining control of complex qualities which include pacing, diction, gestures, posture, and content. The idea is rehearsal precision and refinement.

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This extends to qualities of expressive or improvisational delivery. VThen the subject content is internalized, the phenomenon is not a practice of rote delivery as in recital. The immediate composition of speech from ideas is also an act that depends upon mastering existent facts, however the knowledge is not crystallized and rigid but pliant and malleable. It takes a unique form based upon the arrival of the moment.

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In comparison, the rigid structure of the recital is tempered by the course of action which is adjusted according to the stimuli of the process of delivery. Conversely, the loose structure of the lecture is tempered by the requirements of factual parameters.

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When a poem is written, the process is improvisational relying on internalized data as compared to researched material which is being learned by reading. The eclecticism of style is borrowed with a restriction to honesty while the personal variations of style are developed and assimilated alchemically. The process of acquisition is by historical exploration in archives, tempered by alchemical discovery through permutation, induction, and experimentation. The deductive logic is an honest appraisal between assimilation and dissemination, the origins of interactions.

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This reduces to the action of publication by efficient means, reading that which has been written before it is internalized by memorization. Actually, the art has been externalized in the process of creative writing. The material has not been learned but devised. It can, thereafter, be learned or altered in productive, ethical ways.

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So, there are two forms to the lysis of development in analytical perception, and the genre of Poetics is complexed by two syntagma. The literary dramatic vector is a phase space of practice, while the literary publication vector is a phase space of delivery. The two may complement each other as implementation, yet, as specialization, some poets prefer acting while others prefer writing. The equality of the paradigm is philosophical in this respect.

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Even so, while reading, in the same problems encountered by recital, the speaker is concerned with pacing, position with respect to light and microphone amplification, diction, and projection. The emotional relevancy is more abstract yet remains important for the sake of understanding. The rapport is often established by extemporaneous conclusions of questioning and answering. The acting rapport is carried forward by coaching and attempted compliance, practice leading to enhanced skill.

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Qualitative evaluation of poets is by these, two factors. The writers emphasize the skill of composition and are compared by this basis. The performances emphasize the skills of delivery and are compared on such a basis. Between the two, the amount of actual work becomes readily apparent through the course of mastery. A good writer may be growing as a poor performer while a good performer may be developing from a superficial writing ability.

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Since the purpose of a communication is entertainment, two audiences are sorting out by mitosis. The peritope, the convergent polish, attracts a transient audience while the epitope, the creativity, will maintain attraction for a regular audience. Thus, recitalists are circuit performers while writers are usually, inclined to be more localized. The recitalists have transient appeal, and the writers have an incipient appeal maintained by the strangeness. Strangeness is the common factor, new recitalists or unfamiliar figures compare to new material or unfamiliar tracts.

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The subtleties of learning are encounter, documentation, familiarization, internalization, and remembrance through current practice. The aspects of learning are in terms of personal appearance, such skills contrasted to the ability of articulate knowledge to synthesize expansive correlations and refinement as applied to the psychological phenomena of entertainment.

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Appearance is distractive with respect to the subject while the tract is distractive to the mechanics of presence. Therefore, critical feedback will present a lysis that favors or equates these dimensions on the basis of the attitude and awarenesses of the critic.

Count Senator Joseph A. Uphoff, Jr. Grand Council ( World Parliament ) Academic Council ( London Diplomatic Academy, RE )

Hon. LLD, 11:1 Div., Hon. PhD; M.P.S., Litt. D. Hon. Professor: Fine Arts, Documentation, and Mathematics

Deputy Director General ( International Biographical Centre )

Editor In Chief, Journal Of Regional Criticism Executive Director, Arjuna Library ( Full

Accreditation, Madras India ) Yudansha Renshi isshin Ryu, Shorinji, Yoshukai; USMA )

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