J.L Austin

Tamarin Norwood Doing Things with Words

‘Austin writes that the performative utterance must constitute the action that it describes or states:

‘to utter the [performative] sentence…is not to describe my doing in what I should be said in so uttering to be doing or to state that I am doing it: it is to do it‘ i,e I now pronounce you man and wife. Thus […] the uniqueness of the performative utterance lies not in its efficacy but in the fact that it is dependent on the self-referentiality of the utterance, its explicit reference to itself.’ pp12

Austin and Benveniste agree that in order for an utterance to be effectively performative it must occur under the appropriate circumstances. For Austin [1975] the circumstances are appropriate if those involved [speaker, listener, witnesses] view them as conforming  to the traditions and conventions of society. Benveniste [1966] merely writes that a performative statement, in order to be authentic, must be uttered under contextual conditions that are themselves perceived as valid.’pp19

In ‘What is a Speech Act? [1971, 46-53], John Searle articulates a number of conditions in decribing ‘how to promise’ and suggests how they might be generalized to apply to other explicitly perofrmative speech acts. The most important among them are related to the authority of the speaker to make the statement under the circumstances in which it is made; the speaker’s sincerity and the listener’s belief in the plausibility of the predicated proposition. Once can effectively promise only what one intends to do and is capable of doing.’ pp19

For further reading with regard to the illocutionary, the perlocutionary, the constative, the performative etc see J L Austin How to do things with words

Text reproduced from  Performance in the Texts of Mallarme, Shaw, Mary Lewis 1993:pp12

Image reproduced from http://www.tamarinnorwood.co.uk/about/

Framing and Identity in Conceptual Poetics

Framing and Identity in Conceptual Poetics

At the recent Conceptual Poetics Symposium at the Poetry Center of the University of Arizona the key word seemed to be “framing.” The idea that words could be objectified to erase the identity of the writer–or to redefine what writing is–was explored through the notion of arrangement. This aesthetic sees words as objects to be placed in various structures through “language games” and distinguishes itself from an aesthetic in which the writer arranges the words as they represent his or her experience. In Conceptual Poetics, its practitioners argue, writing is freed from the limitations of one subjective viewpoint–the “lyric I” of confessional or romantic writers. Words are out there for anyone to place into “formal constraints.” What I found most interesting was the idea of subjectivities–the notion of replacing the “Lyric I” with several points of views or eyes looking out through various frames. The tools of technology allow poets to release the poem from the printed page and create hybrids with art, music, video games–whatever suits the “eye’s” fancy. To paraphrase one of the poets as he framed his chin and top of his head with his hand, what do we do with this space? The gesture conveyed visually that “this space” is a place from which to look out, not to look within. Continue reading

A Romantic Manifesto

Following on from my last post with regard to ‘universal poetry’:               Athenaeum Fragment 116

‘Romantic poetry is a progressive, universal poetry. Its aim isn’t merely to reunite all the separate species of poetry and put poetry in touch with philosophy and rhetoric. It tries to and should mix and fuse poetry and prose, inspiration and criticism, the poetry of art and the poetry of nature; and make poetry lively and sociable, and life and society poetical; poeticize wit and fill and saturate the forms of art with every kind of good, solid matter for instruction, and animate them with the pulsations of humor. It embraces everything that is purely poetic, from the greatest systems of art, containing within themselves still further systems, to the sigh, the kiss that the poetizing child breathes forth in artless song. It can so lose itself in what it describes that one might believe it exists only to characterize poetical individuals of all sorts; and yet there still is no form so fit for expressing the entire spirit of an author: so that many artists who started out to write only a novel ended up by providing us with a portrait of themselves. Continue reading

The Critical Turn

‘A fragment, like a small work of art, has to be entirely isolated from the surrounding world and complete in itself like a hedgehog’, Freidrich Schlegel, Athaneum Fragment 206 [pp.43]

The Literary Absolute by Jean-Luc Nancy and Phillippe Lacoue-Labarthe ‘traces the emergence of the modern conception of Literature’ in Jena Romanticism. Their ‘fragmentary’ model of literature – as the production of it’s own theory – stands in relation to the development of a Post-Kantian conception of philosophy as the total and reflective auto-production [autopoiesis, literally self production] of the thinking subject in the work of art.’ [Book jacket]. Nancy and Labarthe also hightlight the inadequacy of the term Romanticism [as retrospective label] since ‘what is at stake in Jena […] is the first approximation of theoretical romanticism.’ [pp.2]. Continue reading

The Object of Post Criticism

The doctrine of eternal change is summarized in the assertion that + ACI -one cannot step into the same river twice + ACI – – the river is never + ACI – the same +ACI – from one moment to the next, and for Heraclitus the first principle of the world is not + ACI – being + ACI – but + ACI – becoming. + ACI – change, change, change…’

It is here important to refer to Greg Ulmer’s essay, “The Object of Post Criticism” in The Anti-Aesthetic: Essays on Postmodern Culture. In this essay Ulmer succinctly describes a set of potentials related to new forms of critical writing. Ulmer presents the following concept:

I will argue, following White’s lead, that ‘post-criticism'( -modernist, -structuralist) is constituted precisely by the application of the devices of modernist art to critical representations; furthermore, that the principal device taken over by the critics and theorists is the compositional pair collage/montage. (Ulmer, 1983, p. 83)

Recombinant Poetics seeks to build on this concept of the incorporation of collage/montage, through the technological construction of an enabling electronic mechanism, capable of making collage/montage operations which are not fixed, but are, mobile, fleeting, and continuously operational. Unlike the collage/montage environment that Ulmer suggests, A Recombinant Poetic environment enables the vuser to explore a set of modular elements within a continuously active, non-fixed, relativistic environment. An environment that exhibits the qualities of non-closure. Continue reading