CHRISTOPHER T.
FUNKHOUSER
from LAYERED EFFECTS IN
MULTIPLEX POETRY SINCE BLACK MOUNTAIN
*
The
maximization of resources which occurred at Black Mountain is posited as an important
and direct influence on performance art and poetry in the United States after
the second world war. These developments in twentieth century art and poetry,
undoubtedly influenced by dada and other precursors, result from the
technological ability for the composer to allow and/or control numerous
variables of the human senses within the framework of a performance situation.
A preoccupation with and desire for effect upon an audience is what leads
creative minds to multimedia. As former
Black Mountain faculty member Robert Creeley writes in the Introduction to the Poetry
In Motion II cd-rom, "...poets particularly need to be heard, need an
active and defining presence, need physical sound and sight."
A
trajectory of multi-layered poetry in the United States has kept in-step with
the localized activities at Black Mountain. Through the late 50s and 60s, the
arts were juxtaposed through the activities—the "Happenings"—created
by Allan Kaprow and FLUXUS, predominantly in New York City. Kaprow was a student of John Cage's, and saw
the importance of breaking down separations between the arts. Many writers began to use multiple voices
and sounds in formal or informal communal poetic events. Allen Ginsberg describes the "glorious
ferment" in New York in this period in the "Foreword" of the Out
Of This World anthology, writing, "The literary, musical, and
cinematic avant-garde, as well as civil rights, censorship, and minority
problems, all came together at one point, one spot in time, in the early
sixties" (Waldman xxvi).
Particular
aspects of the Black Mountain continuum solidify and make clear poetry's status
as a potent performative and intermediary form in the latter part of this
century. Performance poetry blossomed
in North America in the 60s, 70s, and 80s.
Its most active practitioners (of that period) are chronicled in Ron
Mann's video Poetry In Motion (subsequently converted, with additions,
to a pair of cd-roms). This project has been extended into the 90s by the
recent The United States of Poetry video series. With the "mimeo revolution"
(extended by the xerox machine), the publishing of poetry in print also
proliferated. Loss Pequeño Glazier's
annotated history of small presses reports that the number of poetry magazines
increased by 1900% between 1965 and 1990 (from 250 to 4800) (2).
In the most recent decade a severe
de-centralization of creative energies has happened. In part, this is due to
the "technology" of culture and the expanding demographics of
American poetry (including disagreement around issues of form amongst
poets). Charles Bernstein, in A
Poetics, describes recent literary history as being "characterized by
the sharp ideological disagreements that lacerate our communal field of
action" (1). The near void of interdisciplinary cultural and educational
institutions such as Black Mountain presents practical difficulties in the
creation of a kinetically-minded community. Naropa Institute, New College of
California, and The Poetry Project at St. Mark's Church in New York, all of
which have direct foundational ties to Black Mountain, are among the few places
where an integrated, collaborative approach to poetry has been encouraged and
able to ferment in the past several decades. Yet their relative distance from
one another as well as other symptoms of cultural atomization prevent the ideal
presence of a communal field of action and inquiry. This condition, however, may not be as problematic as it seems
if, as Don Byrd points out in his study Charles Olson's Maximus,
"The Center is not a place as such but an engagement of attentions which
is necessarily located" (64).
A
capacious alternative approach to intermedia arts—mostly speculative at the
time—began to develop in the 70s. Ted Nelson writes in Dream Machines
[1974]: "...a very basic change has occurred in presentational systems of
all kinds. We may summarize it under the name branching, although there are
many variants. Essentially, today's systems for presenting pictures, texts and
whatnot can bring you different things automatically depending on what you
do" (44). Nelson promotes the computer as a mechanism which collects and
organizes disparate texts, and suggests the generic terms "hypertext"
and "hypermedia" for presentational media which performs in multi-dimensional
ways. Several writers have subsequently
chosen to adopt cybertext as a term which attempts to broaden yet create a
unified field for computerized and other interactive texts. [see Espen J.
Aarseth, Cybertext: Perspectives on
Ergodic Literature (Baltimore: Johns Hopkins U. Press, 1997) and John
Cayley, "HYPERTEXT / CYBERTEXT / POETEXT." ]
Digital
systems have developed substantially since their conceptualization, and a few
efforts have been made in the name of poetry. Contemporary artists using
digital multimedia gain the ability to mechanically process and cross-index
amounts and types of information inconceivable to artists, writers, scholars of
previous generations. A movement toward encompassing multiple forms through
electronic networks is appropriate in a country whose artistic milieu is
energetic, varied, and surrounded by various forms of media. Texts developed
using hypermedia bring sonic, alphabetic and visual (static and kinetic)
materials together. Though poetry has always been layered, has
"branched" in certain senses, increasingly computer technology has
come to play a role in the projection and performance of a poetry of layers.
With hypertext, writes Michael Joyce, "The text becomes a present tense
palimpsest where what shines through are not past versions but potential,
alternate views." (3) A range of intertextual associations, and graphical
combinations are possible via the computer screen.
Of course, it is a radically different
situation to be in front of a computer "reading" than it is to be in
an audience witnessing a performance: an abstraction exists in the absence of
the presence of a group or human energy. Though perhaps no more than in other
forms of literary transmission, such as books, television, radio, and so on.
Other concerns exist regarding the new media's ability to effectively enact a
transference of experience and art. Digital multimedia cannot carry the gestalt
or community of Black Mountain much more than Voyager's cd-rom, THE BEAT
EXPERIENCE carries the spirit of the Beat poets. It can, however, carry the
blend of media in publication form and, more importantly, lend itself to some
of the important artistic methods and philosophies at the core of Black
Mountain poetics. In fact, technological / hypermedia manifestations of
literature and art practically demand intermediary collaborations. Creative
modes of "interactivity," expansive databases, and knowledgeable
designs for digital multimedia will relieve some of the obvious concerns about
a poetry relying on computer interface for effective transmission. What is
happening is not some sort of post-human poetry: someone or someones invent the
work, write the codes, broadcast and receive vision. Meaning is revealed or
evoked through the programmatic, yet malleable, transmission of the
"performance." Both creative and critical texts are layered in new
ways. Mutational layers such as color graphics are obvious, as are the benefits
of various forms of linking.
Artists
associated with Black Mountain were able to create a matrixed/non-matrixed
multi-layered field for poetry. With the development and proliferation of
mass-media, electronic networks, and hypermedia, terms for performance have
unquestionably shifted since the 50s. It is impossible to suggest that
computers are a catalyst for various circumstances and ideal possibilities
described above. Still, the increased number of parameters in simultaneous
projections and sounds enabled by new media imply new combinatorial creative
procedures resulting from art, music, and writing which cannot rely implicitly
on either unique approach. Nevertheless, nothing like a Black Mountain poetry
or poetics exists in cyberspace to this date. The investigations of Jim
Rosenberg, John Fowler, Diana Slattery, Charles O. Hartman, Christy Sheffield
Sanford, Alterran Poetry Assemblage, Betalab, the Electronic Poetry Center,
Eastgate Systems, and others, no matter how sophisticated they are, include but
the earliest efforts in designing digital intermediary compositions.
In
The New American Poetry, Black Mountain faculty member Robert Duncan
writes, "A multiphasic experience sought a multiphasic form." Duncan
describes how he seeks, "those forms that allow for the most various
feelings in one, so that a book is more than a poem, and a life-work is more
than a book, yet they have no other instance than a word" (435). His own "multiphasic" work stems
from mythological, philosophical and other sacred texts as well as writings
from his favorite contemporaries. In his poetry, Duncan successfully weaves
language and an integrated vision into a dense and expansive array of verbal
lyricism, which he had no other way to produce than by type set on a page or by
reading aloud.
Whether
or not cybertext truly allows "various feelings in one," or allows a
book to be more than a poem (or a life work to be more than a book) still
depends on content and a constructive and passionate energy put forth by the
author. Conceivably, it could be decades before anyone finds a way to
synthesize a grand poetic vision and the computer. We do know for a fact that
electronic composition, vast storage and telecommunications systems now allow
for different types of poetic literature to be designed, created, and
distributed. These new systems in part transplant the most effective attributes
of the old techniques into the new in a process of using "a word" to
absorb and transmit a poet's vision outward.
It
is apparent that several cybertext authors have engaged with what Gerrit
Lansing describes as "the unchosen weather of the paradigmatic and
syntagmatic forces of present language" so powerful in Duncan's work
(198). We see this foregrounded in works which adopt the icons, metaphors, and
terminology of computers and networks in order to "subvert" them.
These self-reflexive texts intend to critique the media itself. This is not an absolute praxis, however.
Many forms of cybertext earnestly attempt to use new media to advance poetry
into the electronic realm. Phases, forms, and interpretations of cybertext have
been produced; more will be. Some may already be read as
"multiphasic," but as Duncan's poetry and methodology grew out of
many years of living research, reading, conversation, and careful consideration
of all of the aspects of writing poetry and being a poet, surely we have not
yet seen the maturity of dramatic open forms in electronic work.
Using
Black Mountain as a model for such poetry certainly demands further scrutiny.
Charles Olson, directing Black Mountain at its very end, states his conception
of the school: "What Black Mountain College sets itself to do is to breed
the first-rate alone. And it does it by
opposing, as of knowledge, the particular to the general; as of the person, the
common to the special; as of culture and belief, the active to
spectatorism..." (Harris 180). The
first consideration here, toward the development of progressive forms for
poetry, of favoring the particular over the general, is not as much of a
problem as the specialized and spectatorial aspects of the highly technologized
forms under discussion. Questions of
access and effective modes of interactivity perhaps undermine my proposal of
them as such. At the same time,
according to Harris, just before Black Mountain closed, "Olson formulated
what was by far the most visionary of his schemes for the college. The new
college, described by Robert Duncan as the center of a 'dispersed force,' would
retain a nucleus faculty...and sponsor a program of satellite
projects...located in cities all over the world" (180). The location of
such a poetics may be precisely and effectively enacted through the electronic
passages and connectivity enabled by machines. Conflation of these electrifical
communities may be debatable because the artistic activity at Black Mountain
stemmed from a physical and living space. A digitized presentation of poetry in
a non-spatial, non-cotemporal form might even be considered by some to be
antithetical to the purposes of Black Mountain. I see contemporary
methodologies as opportunities to renovate an innovative poetry and poetics,
useful to persons interested in an art comprised of varied activities happening
independently of one another. Spontaneous, creative, potentially globalized
approaches may be simulated by computer processes, as a disembodied poetics
grows cross-culturally.
Multiplex
is precisely the word which defines the context of cybertext in the current
creative and technological moment. Multiple
layerings, and the use of telephone circuitry and television receiving
equipment capable of carrying two or more distinct signals, are symptomatic of
a growing body of literature today. A potential inclusivity, anthological and
transgenral, exists through the media's layering abilities. A practical and
focused example is built in to the electronic version of the previous Black
Mountain essay. Its first link, the "Prologue," is an example of what
a colleague affectionately called a "pre-emptive strike" against a
basic feminist critique which might be levied upon regarding the school (and my
pinpointing it as the orgins of multimedia poetry in the United States). This
"Prologue" includes relevant commentary on the subject as well as links
to missing past and present counterparts to this lineage. This effect enables
considerations to be pixel-by-pixel in the present.
We
have reached a point in the age of mechanical reproduction where the demands of
the multi-layered poetry born at Black Mountain can be at least immaterially
satisfied by manifestations from the new machines. It is an extremely
demanding, highly processual, type of work but the tactics and machinery are in
place to invent a vibrant poetry as a result of the invention and proliferation
of digital media. Given the computer's ability to be programmed to create,
change, and recover particular encounters within a textual body of knowledge
and forms, it is possible that creative effects born at Black Mountain may be
cooperatively carried to the present.
Works
Cited
Benjamin,
Walter. Illuminations: Essays and
Reflections. Hannah Arendt,
ed. New
York: Shocken, 1969.
Bernstein,
Charles. A Poetics. Cambridge: Harvard University Press, 1992.
Byrd,
Don. Charles Olson's Maximus. Carbondale, IL: University of Illinois Press,
1980.
Duncan,
Robert. In The New American Poetry,
Donald M. Allen, ed. New York: Grove
Press, 1960.
Glazier, Loss Pequeño. Small Press: An
Annotated Guide. Westport, CT: Greenwood,
1992.
Harris,
Mary Emma. The Arts at Black
Mountain College. Cambridge: MIT Press,
1987.
Joyce,
Michael. Of Two Minds: Hypertext, Pedagogy and Poetics. Ann Arbor:
University of Michigan Press, 1995.
Lansing,
Gerrit. "Robert Duncan and the
Power to Cohere." Scales of the
Marvellous.
Robert J. Bertholf and Ian Reid, eds. New York:
New Directions, 1979: 198-199.
Nelson,
Ted. Dream Machines/Computer Lib. Chicago:
Hugo's Book Service, 1974.
Waldman,
Anne, ed. Out of This World. New York:
Crown, 1991.
Christopher
T. Funkhouser © 1997.