Tutti au fait accompli?
C'est ca, rien fait
a la busca faux
a jaune futures reform arabesque
canto des couleur
No promotion export fallacious
serial stasis
ethereal exogeny
Cantus de la mode
empire de castillo dans la ciel
a natural disposition
and dispossessed
Capoeira ferile, entwining cartography
a sudden sunshine
a la mode de rigueur
et lens per favore
Oceans sparkle
under the dunes du choix
Tondu, a backwards step
4 clear thoughts
are ribboned in pink
Arabia, philosophia
Kunst; the language of dance
and reflection via distance
perimeteric screens 2
dice a fuelled, insistent portraiture
The fluidity of love
cannot be bought, only its
skull the shores are blunt
and u r my understudy
du complicite
With money our sculptor
aesthetics are bones
air travel en masse
we should fuck each other senseless
precognize a renaissance
struggle under little despots
to interfere our journeys
Simon Harris
This poem endeavors to capture the global, multicultural flux that many of us experience today. This is a worldwide phenomenon. Conceptually, I have reflected these concerns and, most notably I have mixed Indo-European languages to reflect these concerns, stylistically. For example; "a jaune futures reform arabesque/ canto des couleur". In the English, yellow futures reform arabesque/ song of colours. The words "jaune" and "des couleur" are French, while canto is Spanish. Grammatically, there may be "mistakes" simply because this is a novel approach to mixing languages (often mid-sentence) in poetry. However, I believe "mistakes" should be tolerated and seen as contributing to a global culture, rather than evidence of grammatical errors. I have also included some "text speech" or "Internet speech" to contribute to the intellectual, cultural, linguistic and actual uncertainty, that is today.
Briefly, I wanted to state that this "poem" is as much a form of Text Art, than a poem (artistic work of literature). All art forms are crossing over today and I don't see why poetry should be limited to the page and to public readings.
SH
17 Jul 2010
7 Jun 2010
Avant-Gardism at the Beginning of the 21st Century
Avant-gardism does not sit well in a captalist landscape, where art (the arts?) are measured (athough, as yet not invariably so) by their potential to make money or literally, at the point of sale.
Originality is not dead, after Modernism, only an idiot would believe that new ideas are completly dependent upon the whim of government or the resultant, mediocracy of capitalism. However, the nature of originality or avant-gardism has changed.
Far from the romantic introspection of Modernity, where the West defined "newness" in relation to Western ideas/thought, we now have to define avant-gardism in terms of an increasingly global arena. We in the West cannot deem art to be of intellectual and cultural value when we are exposed to a global culture, and we have yet to understand cultures that are new to us. Indeed, who is to say that, for example, Amazonian tribes or Brazilian people shouldn't see art through their intellectual/cultural values and prescribe values that art from all over the world should confom to, to be considered worthy of possessing intrinsic value?
Evidently, today's Avant-Garde is the meshing of Global cultures via new and informative ways. This leads towards a state of Global art, where ideally, art (or the arts) can be deemed to be of value because arts practitioners, historians and audiences from around the globe can find value in art works.
As cultures shift toward globalism, the effect upon intellectual thought, politics and economies may be startling. For sure, life will never be the same again!
Simon
2010
Article originally posted on the "New Renaissance group" on Flickr.
Originality is not dead, after Modernism, only an idiot would believe that new ideas are completly dependent upon the whim of government or the resultant, mediocracy of capitalism. However, the nature of originality or avant-gardism has changed.
Far from the romantic introspection of Modernity, where the West defined "newness" in relation to Western ideas/thought, we now have to define avant-gardism in terms of an increasingly global arena. We in the West cannot deem art to be of intellectual and cultural value when we are exposed to a global culture, and we have yet to understand cultures that are new to us. Indeed, who is to say that, for example, Amazonian tribes or Brazilian people shouldn't see art through their intellectual/cultural values and prescribe values that art from all over the world should confom to, to be considered worthy of possessing intrinsic value?
Evidently, today's Avant-Garde is the meshing of Global cultures via new and informative ways. This leads towards a state of Global art, where ideally, art (or the arts) can be deemed to be of value because arts practitioners, historians and audiences from around the globe can find value in art works.
As cultures shift toward globalism, the effect upon intellectual thought, politics and economies may be startling. For sure, life will never be the same again!
Simon
2010
Article originally posted on the "New Renaissance group" on Flickr.
8 May 2010
Automaton - Experimental Research
This is a photograph, not yet widely circulated, of experimental research into creating a cyborg. Unfortunately I cannot reveal my sources, for reasons that should be obvious.
Here, the process is incomplete. The human skin has not yet covered the metallic, robotic parts. There is evidence to suggest that human organs are used and remain largely intact, however a metallic-like substance has been "grown" using similar methods to growing crystals.
One source states that the metallic substance contains human gene codes and, therefore can be "grown" organically. This is probably done using nanotechnological methods, in a similar fashion to"organic computing".
I apologise for the quality of the photograph, but the photograph was taken very quickly at a location that I cannot reveal.
The ethical issues surrounding this discovery are monumental. However I can assure all viewers that we witnessed no signs of life, whether physical or pertaining to consciousness.
More infomation can be found by contacting me by email (on Blogger profile).
Thank you
Faux Advertising
And when the whole freaky weld of faces stares
back at the life you lead like do re mi fa
do re mi fa the whole punch of the heifer
punts piston and of the strange scary
scape of the performance of a shopping centre
i i i can't re sa fa ti do ri mi expand
myself only by atmospheres ti do re mi fa so do da
music concrete arabesque by Selfridges
and ghosts in the car park shuffle
as if reminding us of Babylon
metal whistles its own devices
and the clerk to the court repossesses
buildings that could have been used
to house us, nevertheless, fiscally astute
carve our spiritual ambitions towards the untouchables
lest we be reminded that money flows
from hand to hand, this less
now, from trace to trace
to ask spirits to rise from trees
would be far too convenient
back at the life you lead like do re mi fa
do re mi fa the whole punch of the heifer
punts piston and of the strange scary
scape of the performance of a shopping centre
i i i can't re sa fa ti do ri mi expand
myself only by atmospheres ti do re mi fa so do da
music concrete arabesque by Selfridges
and ghosts in the car park shuffle
as if reminding us of Babylon
metal whistles its own devices
and the clerk to the court repossesses
buildings that could have been used
to house us, nevertheless, fiscally astute
carve our spiritual ambitions towards the untouchables
lest we be reminded that money flows
from hand to hand, this less
now, from trace to trace
to ask spirits to rise from trees
would be far too convenient
3 May 2010
17 Apr 2010
Don't tell me I'm not haunted
I'm a ghost I'm a ghost
in a weld in a mesh
a kernel or animal
My old man, air is full of caffeine and this inertia
as for global art; to shake post modernity
and find its only originality, its "sweetness and light"
would be testament to disconnecting your broadband
Do I know you?
If so then
who the fuck are you?
Bella! Bella Nella?
Bella Nella D'ella betwixt
the curtain and the stage
fright, night, flight of
tragedy and comedy (between, of her)
And don't you
I couldn't tell you knows
alright with out doubt
par journee pas jamais
any raison at all (ne)
(I) other than knowing of your
selfless brigand of Surrealism
Potented (pointe)
pissed by numerical codes
shitting up the hole in art
clunky of it
and you don't!
Welkomme select a product to view
like a goat cackling erst its own(ership) coat
flo
fuck off E
I'm a ghost I'm a ghost
in a weld in a mesh
a kernel or animal
My old man, air is full of caffeine and this inertia
as for global art; to shake post modernity
and find its only originality, its "sweetness and light"
would be testament to disconnecting your broadband
Do I know you?
If so then
who the fuck are you?
Bella! Bella Nella?
Bella Nella D'ella betwixt
the curtain and the stage
fright, night, flight of
tragedy and comedy (between, of her)
And don't you
I couldn't tell you knows
alright with out doubt
par journee pas jamais
any raison at all (ne)
(I) other than knowing of your
selfless brigand of Surrealism
Potented (pointe)
pissed by numerical codes
shitting up the hole in art
clunky of it
and you don't!
Welkomme select a product to view
like a goat cackling erst its own(ership) coat
flo
fuck off E
20 Mar 2010
Foro Romano
Walking through ancient Rome at Foro Romano, near to the Colosseum, the remains and artifacts of a once powerful empire, I came to realise two things....
Firstly, history should not be considered academic first and foremost. History is the recording of lived activity, it is the living of events that was and still is, of most importance. History is not some abstract, mental hypothesis, it is the accurate recording of actual events, as much as is possible. Hypothesis has its place, but this is secondary to the recording and communication of actuality. Writing as the raison d'etre of history, forces hyper reality, emphasising the power of the written word and those who record history.
Students of history (all of us) should realise the limitations of reportage, the responsibilities that come with supposition and the realisation that we are active participants in history. They should be encouraged to view archaeological sites and involve themselves archaeological research. They should be involved in local history projects - "living history". Seeing history as an academic or literary exercise makes it harder to communicate the actual events of history and their importance. This is particularly important today, when we are very concerned with the short-term and coerced into making snap decisions rather than considering the long term as well as the short term effects of our actions.
Secondly, Roman remains and their preservation have great relevance to today. As we know, Rome was a great power, much influenced by Greek civilisation. Roman society was intellectual, aesthetic, inventive and sophisticated. They also had a barbaric ad blood-thirsty side that helped them to extend their empire so successfully.
Today, our Greek-influenced, Western empire, lead by the United States, should learn from the history of Rome. No empire is too powerful or sophisticated to fall. We must make sure that corruption, like we have seen over recent years, does not cause the West to fall, as was the fate of Rome.
Leaving the awe inspiring ruins behind, gilded by Orange Trees, Cypresses, I watched the sunset behind the Colloseum and walked to a nearby cafe. "Bon sera, cafe americano per favore," I said in a French accent! "Coffee American coming right up Sir!" The waiter replied. "Grazie!" I said, hoping to tease some Italiano from him, "Preggo!" He replied almost like an after thought.
Firstly, history should not be considered academic first and foremost. History is the recording of lived activity, it is the living of events that was and still is, of most importance. History is not some abstract, mental hypothesis, it is the accurate recording of actual events, as much as is possible. Hypothesis has its place, but this is secondary to the recording and communication of actuality. Writing as the raison d'etre of history, forces hyper reality, emphasising the power of the written word and those who record history.
Students of history (all of us) should realise the limitations of reportage, the responsibilities that come with supposition and the realisation that we are active participants in history. They should be encouraged to view archaeological sites and involve themselves archaeological research. They should be involved in local history projects - "living history". Seeing history as an academic or literary exercise makes it harder to communicate the actual events of history and their importance. This is particularly important today, when we are very concerned with the short-term and coerced into making snap decisions rather than considering the long term as well as the short term effects of our actions.
Secondly, Roman remains and their preservation have great relevance to today. As we know, Rome was a great power, much influenced by Greek civilisation. Roman society was intellectual, aesthetic, inventive and sophisticated. They also had a barbaric ad blood-thirsty side that helped them to extend their empire so successfully.
Today, our Greek-influenced, Western empire, lead by the United States, should learn from the history of Rome. No empire is too powerful or sophisticated to fall. We must make sure that corruption, like we have seen over recent years, does not cause the West to fall, as was the fate of Rome.
Leaving the awe inspiring ruins behind, gilded by Orange Trees, Cypresses, I watched the sunset behind the Colloseum and walked to a nearby cafe. "Bon sera, cafe americano per favore," I said in a French accent! "Coffee American coming right up Sir!" The waiter replied. "Grazie!" I said, hoping to tease some Italiano from him, "Preggo!" He replied almost like an after thought.
16 Mar 2010
27 Feb 2010
text for a new (yet unimagined) picture
You can't (I) and then construe the robots like science thou secular morality
wears thin by technology and governed by politicians oh! false tyger, by this we conceive a place for humanity next to commerce
Turn your computer on
for religious compliance esoterica 72105 11-21.6 component 9 c'est rocks!
Our mothers were art moths cappuccino, myther glutinous vendors or windows carapace (you) delineate the forth stage of practice I am a shade of hue
Hang on I don't know you dominant do you live here? Well not in your flat! Really? 2 doors away... For 7 years! To think I've never seen you! Animal I thought you were a fucking painting something like what you get at Cyclops. I have one of those memorable faces. People think I am in adverts. Fucking! Yes, fucking! :-) Well friends cost money I can't afford it. Did you say that? Yes, it was me! Time is so expensive now. Yes, I know friends are much cheaper on the Internet.
Drinking causes damage that you can't see Autumnal driving causes damage that you can see but can't afford to preach as there is no evidence of cost-effectiveness. Mesmer do you remember before the partners and minors act? We weren't paid to oppose parentless minors... Do you remember? I can't seem to remember any more but music helps to fill in the gaps where ideas once roamed.
wears thin by technology and governed by politicians oh! false tyger, by this we conceive a place for humanity next to commerce
Turn your computer on
for religious compliance esoterica 72105 11-21.6 component 9 c'est rocks!
Our mothers were art moths cappuccino, myther glutinous vendors or windows carapace (you) delineate the forth stage of practice I am a shade of hue
Hang on I don't know you dominant do you live here? Well not in your flat! Really? 2 doors away... For 7 years! To think I've never seen you! Animal I thought you were a fucking painting something like what you get at Cyclops. I have one of those memorable faces. People think I am in adverts. Fucking! Yes, fucking! :-) Well friends cost money I can't afford it. Did you say that? Yes, it was me! Time is so expensive now. Yes, I know friends are much cheaper on the Internet.
Drinking causes damage that you can't see Autumnal driving causes damage that you can see but can't afford to preach as there is no evidence of cost-effectiveness. Mesmer do you remember before the partners and minors act? We weren't paid to oppose parentless minors... Do you remember? I can't seem to remember any more but music helps to fill in the gaps where ideas once roamed.
31 Jan 2010
24 Jan 2010
Astro_TJ. does a TFOS
"Hello Twitterverse!," "We r now LIVE tweeting from the International Space Station. We hope our friends from Alderaan will receive the gift to TFOS*) like a humanoid soon!"
*)Tweet From Outer Space
~~
16 Jan 2010
Poem Full of Dance Energy
The fist circs the bee sucks
Mr.Elephant's formaldehyde is clover'd
it bust rust da goo goo Ganges (phonetics)
Way out ladyboy glockenspiel "pro"
objetif looks (Thia)
Giraffe stages, the 3 Stooges (premonition/promote)
Three themes hear, employ to
vacate emotion, practical tense (the denied is our next procession)
enrapture les animaux season d'etre
One moon one tide one creature in formaldehyde (arte moderne)
wiggles her soul through bra statistics
Clever she may
no herself from professionalism, the
art of how you say it, the wasp (feminine condition)
craves the butterfly's tongue
wrapped like a moth's cocoon, the idee fix
of minutiae, petite morte and petites objets (impractical present)
Open hand the style decries the species (legislative chivalry)
for bees dance and and ants milk greenfly
by the stream where faeries entertain
near galaxies and taxis (pre-op transvestite)
Subjetif follows her nose
like a crepe suzette lost 4 buns in the oven
intuition may now be purely physical (ontological foret)
like lust until we return spiritual
my cabby is a hippopotamus (ungovernable fable, apathetic humanity.....)
and you are a horse.
Dear Reader, you are Pegasus. (western misanthropy
cultural portal
The
arts
find that reason
is
simply a useful
measuring
tool
a
mercury
filled
thermometer)
Simon Harris (Crescent)
Mr.Elephant's formaldehyde is clover'd
it bust rust da goo goo Ganges (phonetics)
Way out ladyboy glockenspiel "pro"
objetif looks (Thia)
Giraffe stages, the 3 Stooges (premonition/promote)
Three themes hear, employ to
vacate emotion, practical tense (the denied is our next procession)
enrapture les animaux season d'etre
One moon one tide one creature in formaldehyde (arte moderne)
wiggles her soul through bra statistics
Clever she may
no herself from professionalism, the
art of how you say it, the wasp (feminine condition)
craves the butterfly's tongue
wrapped like a moth's cocoon, the idee fix
of minutiae, petite morte and petites objets (impractical present)
Open hand the style decries the species (legislative chivalry)
for bees dance and and ants milk greenfly
by the stream where faeries entertain
near galaxies and taxis (pre-op transvestite)
Subjetif follows her nose
like a crepe suzette lost 4 buns in the oven
intuition may now be purely physical (ontological foret)
like lust until we return spiritual
my cabby is a hippopotamus (ungovernable fable, apathetic humanity.....)
and you are a horse.
Dear Reader, you are Pegasus. (western misanthropy
cultural portal
The
arts
find that reason
is
simply a useful
measuring
tool
a
mercury
filled
thermometer)
Simon Harris (Crescent)
3 Jan 2010
you don't fucking say that (danca) you don't say what you want when you want do i make myself clear? (reverence) barter past capitalist museum piece 018 018 018 crater moon dust saturn they were looting and the whole place was going down a pastiche of capitalism proved it wasn't worth the paper it was printed on and pooh art
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