nonlinear poetry

Friday, November 19, 2004

chris said...: Hi Jukka,

I really like the contrastive takes you're doing between concentrations of letters and hollowed out text. What I mean is, the energetic difference between the works that end up being highly concentrated mass (where all the letterings end up jammed to a center--soundwise, then, a cacophony and then all blent to one chord--as such, the beginning of music, eh?), and the examples where the lettering has coherence (in terms of reading: there are words, images, even complex blends) and then the coherence (of textuality) fades to nothingness, leaving a center that is blank.

These are not binaristic oppositions--they are fully, well, delightfully! visual and sonic deconstructions: 'differer*ance*' brought out as visual text, yet yielding far more: the sound equivalent of Derrida's notions, of which, in my opinion, there has not yet been enough attention. So, I think this is some very interesting stuff! Thanks for the occasion to think it through.

Best Wishes,
Chris; 7:40 AM
Jukka-Pekka Kervinen said...: Thanks Chris, yes this is 'opposite' process, concentration of nothingness (chord/silence), my tiny exploration what can I do with white space. But you're absolutely right, they are not binaristic oppositions, they are 'parallel oppositions', concentrations of 'white holes' in textual stream.

Jukka; 8:33 AM