Professional Documents
Culture Documents
S/N: NewWorldPoetics
V.1, N.1
Charles Bernstein & Eduardo Espina
Editors
{ Table of Contents
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Recent Then
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Walking Meditation
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Nachas negras
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I Am My Favorite Poet
Eduardo Espina
Translation, Travis Sorenson
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To My Brother Alfonso
Amanuensis
The Stocks of Lima
Sestina: mea culpa
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What Are The United States And Why Are There So Many of
Them? (Work in Progress)
Heriberto Ypez
ndice Suave
Tan Lin
Traduccin, Julia Stanka
new memory.
That dream has given rise to the turn from
History to pantopia, a total space of remixing
everything
that used to
be chained
Modern poetry in its
together.
entirety foreshadowed
Pantopias
different avatars
are Historys
of pantopia in the
junkyards.
form of techniques,
Modern
metaphors, images
poetry in
and representations
its entirety
foreshadowed
utopias or dystopias
different
that allude to a totalavatars of
market-space in which
pantopia in
meaning can
the form of
be rewired.
techniques,
metaphors,
images and
representationsutopias or dystopiasthat
allude to a total-market-space in which meaning
can be rewired.
Pantopias are all about networking. Negative
networking to be exact in which difference
is the new ruler of co-controlcomposed by
the simultaneous domain of matriarchy and
patriarchy.
In pantopia choice is the prime category. It may
well be that the urban capitalistic experience
of having choiceswhat to see, what to
buy, what to consumechoice of market the
social element that triggered the imagining
of pantopia, the sum and at the same time
precondition of every choice one can made.
Baudelaires dandy, for example, is one of the
first pantopic attemptsthe dandy as the
subject of a total sight, a sight that appropriates
everything through his at the same time
indifferent and voracious eyesight.
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understanding of
art as coming from
a depth-world in
the soul.
Conceptual art
has a historical
relationship with
analytical philosophy,
that is, anti-vertical
tendencies, founded
on mathematical thinkingWittgenstein and
how Wittgenstein was used by pragmatism in
the Anglo worldConceptualism has a great
deal to do with posing an alternative to the
psychoanalytic impulse in which art seemed
again to be rooted in something more than
reception in the social sphere.
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intellectual consumers.
We are handling knowledge as a collection
of discourses that can be safely mixed in a
critical pantopia, where everything, at the
end, becomes units of informationthat later
becomes cultural capital.
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An expert on archive.
Duchamp knew all of this.
Ready made
means how no
interpretation
can arise from
the experience
of the piece as
it is. It needs
something-else.
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called unconscious.
So what we have called the unconscious is, in
fact, our consciousnessunconscious about the
existence of what it calls the unconscious.
So I would simple call it hereboth of them
the other reader.
And that other readerIm sorry to tell all of
useducated in semiotics, deconstruction
and other forms of advanced theoretical
neo-rationalistic modes of thinkingdoes
not necessarily read according to social or
historical patterns.
I like to tell my studentswhen I play the
professor rolethat in art and literaturein
the life of language or bio-graphywe are at
a problematic stage, similar to that of physics,
which has to deal with two sets of different and
incompatible laws: those of classic (Newtonian)
physics and those of quantum physics.
In our case, in language practices we are split
by semioticsto cover a plural set of social
theories that explain the production and reading
of social signsand those discoveries made by
psychoanalysis and deep psychology in general.
This means this is one of those epochs when
Negative capability (Keats) is needed or we are
going to suffer a Crack up (Fitzgerald).
This is the problematic field in which I ask
myself what is writing and what is art. And what
is the task of those of us who ask.
We can train the conscious reader to be open
and to not cling to fixed meanings of texts or
train it to realize signs have different meanings
in cultural space and historical time.
And this training is what we call higher
education. Which is fine.
But this is notlike it or notnecessarily the
way the other reader, the othereader (the
unconscious) operates.
To (s)heit appearssigns are symbols of unhistorical kind.
So (s)he is more akin to a finality, as if (s)he
didnt care about critical theory.
Or postmodernism.
The othereader appears to have a somewhat
finite and determined sets of meanings that
are attached to the language it experiences,
regardless of the conscious readers social
context.
Is the othereader reactionary too?
It may be so.
If the conscious reader operates in pantopia,
the other reader operates in timeness.
For now we dont know enough about (s)he.
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