Louis and armand relationship poems

Interview with the Vampire - Louis, Lestat and Armand, Romantic Relationships? Showing of 16

louis and armand relationship poems

poem The Vampire () and Bürger's ballad Lenore (). It entered. English literature .. Claudia's connection with Louis is what gets her killed in the end. Also, the way Louis and Armand say they are in love with each other, do you think that these are romantic relationships are just extremely close bonds?. The close relationship between Automne and Les Berceaux is perhaps as a poet than Armand Silvestre, it was to Silvestre's poetry that Faure was to turn for to music; his first published collection of poems and five subsequent volumes of composers other than Faure to have set his verse is impressive: Louis Aubert, .

Hyperrhiz: New Media Cultures | ISSN

It's the extraordinary title poem that ends the first section - a poem comprising four preludes three in couplets, and one in quintets or five line stanzas. It begins with a quote from William Carlos Williams that says in part - 'The only realism in art is of the imagination'.

louis and armand relationship poems

I'd say, in Louis' case that it's also art's relationship to emancipation that registers strongly. Then the collision of the ocean and urbanity reminds the jetlagged-yet still-thinking prodigal of lost political causes We could've been the children of Whitlam and Coca-Cola.

Attempting to get a grip on this place, he asks the question - is 'the scene ironic or insincere? In the second prelude the prodigal poet returns to, in a way, the foci of his journey.

louis and armand relationship poems

It's the oldest true obelisk in Sydney, built in This elongated sandstone pyramid's purpose was as the geographical milestone for the measurement of road lengths in New South Wales.

Especially apposite to this circuitous road poem. The body suffers in parallel with the land and, finally, there's a 'Reprise' — we reached the next turning point and came to a standstill: The reprise is of the times - briefly. With various iterations of the prefix "trans-", Armand seems to be following a larger trend in contemporary criticism though a fascination with mediating figures and states, in which contemporeinity is associated with a type of global cosmopolitanism as in Armand's example of the rise of various global citiesand in this case a cosmopolitanism of disciplines converging around the ground or time of writing.

Michael Dransfield

While Armand describes a techno-global substrate as the condition for writing, he offers another optimistic perhaps even utopian "trans"-filter through which he organizes the anthology: While Armand does not necessary define "transversal" as such nor does he give the term a particular political spinhe nevertheless offers this idea as a way to move beyond genealogies and hierarchies among and between contemporary aesthetic movements.

Transversality also provides a way to look at contemporaneity without resorting to redemptive fantasies of the new and the concomitant eschatological disappointments of belatedness. Armand not only uses the idea of the transversal in terms of a macro-view of contemporaneity as potential intersections between multidisciplinary practices and ideas accelerated by various technologies, but also associates it with particular formal and technological micro-features of the present, such as the connective hypertext of the internet which links highly disjunctive entities.

In a later essay included in this collection, "Strange Attractors: The Techno-poetics of the Vortex," Armand discusses transversality as "a particular type of punctuation or puncturing, bifurcations, ruptures, discontinuities, cancellationssuggestive of network of what Mark Auge calls 'non-places'" If we understand the definition of utopia as no-place, we get the sense that for Armand the poetics of new technologies have liberatory and transformative potential of incorporating the tangential and the conditional even as these conditions overlap with the operations of print culture.

Transversality, as Armand uses the term, allows for the adjacent connections between disparate sites, but also within the fourth dimension of time, allowing potential conjunctions between the past, present, and future.

Indeed, in the introduction, Armand speaks of hypertext in almost Blakian terms as having the potential for providing a conceptual "fourth linguistic dimension between the quasi-infinite and the infinitesimal, as a network of instantaneity between all signifying 'moments'" xxvii. A number of the pieces in this volume share this giddy optimism or manifesto-like tone.

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Steve McCaffery in "Parapoetics of the Architectural Leap," uses "para" as an alternative to "post" in order to insist upon the ongoingness of poetics as an indeterminate "contaminatory" endeavor that creeps into the slippages of multiple disciplines. In "Traps or Tools and Damage," artist and poet Allen Fisher weaves together discourses from particle physics, evolutionary theory, and anthropology to describe the aesthetics of the "crowd-out": Huppatz, Nicole Tomlinson, and Julian Savage produce a contrapuntal discussion about the vexed relationship between utopia and poetry: In this double invocation and refutation of utopianism, Tomlinson establishes poetry's relationship to history as one that at once questions its "inexorable linearity" while refusing any liberatory end-of-history scenarios.

Describing their own gallery installations and works from the collaborative writers' collective Textbase, Huppatz, Tomlinson, and Savage delineate artistic practices that work off the plurality of citation across mediums as a way to overexcite the perpetual belatedness of the "post-era," where plagiarism becomes "the last refuge from the new" These projects interact with concretism such as in Tomlinson's piece "and"a mobile of numerous typographic iterations of the word "and" culled from various literary and theoretical texts, blown-up on transparencies, and hung together by invisible strings.

Although Armand includes essays by important figures within the U.

Jerome Rothenberg | Jacket2

This decision is understandable for a variety of reasons — partly to demonstrate the entanglement of experimental poetics with various other media and disciplines, and to reterritorialize poetics outside a narrow frame of its marginalization within various institutional settings. One of pleasures of this work is that it provides unusual links between figures not always thought in association with each other or with poetic avant-garde practices.

However, in later sections delineating cyberspace, other precursors appear, so that Mallarme's Un Coup de Des and Joyce's Finnegan's Wake emerge as ur-texts for digital space and computerized mechanizations of chance.

While Armand includes works by artists and scholars from Australia, Europe, and the U. S, as well as both an interview and talk by Augusto de Campus of the Noigandres group in Brazil, there is less of a sense of how these transversions operate outside of Western frameworks.

However, a few pieces attempt to create such possibilities. Gregory Ulmer's piece "Image Heuristics" imagines how electrate — or digital media literacy — can produce shifts in consciousness and redefine some of the constructs of Western metaphysics through transforming argumentative literacy about social issues a.

Ulmer explains a type of pedagogy of cyberspace in which students create a group web memorial, or an "electrate commemoration" for a disaster: The immediate goal of this assignment is to develop a familiarity with the Web site and the Internet as a media of an emergent language apparatus. The long-range goal is to "improve the world. Through syncretizing discontinuities between iconic signs and images bridging Western and Arab constructs, Ulmer claims that multiple perspectives can open up, such as with the "arabesque," a feature of Arab architecture that appears on U.

It is unclear whether or not the students would create hyperlinks between these various "arabesques," or how this abstract figuration of the arabesque becomes a fold or convergence that helps students to understand the links between Osama Bin Ladin and the CIA.

While a number of essays in the anthology discuss the entanglements between print and digital poetics along with scientific theory, Darren Tofts's " Epigrams, Particle Theory, and Hypertext" is particularly elegant. Tofts draws from Ulmer's notion of electrate subjectivity as well as Deleuze and Guattari's A Thousand Plateaus, and offers a future model of digital literacy via a discussion of particle physics and epigrams.

Tofts discusses visual icons as a cyber-substitution for the phonetic alphabet an iteration of Ulmer's icon of the arabesque and as a hypertextual point of departure from print literacy.

Even though Tofts is ever aware of the limits of both print and digital form, his poetics of both the print and digital realm becomes a fabular theoretical field. Through his analysis of works consisting of multiple epigrammatic units such as Calvino's If on a Winter's Night A Traveler, Tofts attempts to configure a future digital literacy that can shake off the binary constraints of hypertext.

Tofts speaks of highly compressed forms — visual icons and epigrams — as generating infinite registers on a miniscule scale — a "discrete fertility," akin to the quantum possibilities of virtual particles in physics in which the compression of matter into infinitely small space pushes out of space-time as a singularity. Like physics diagrams, Tofts descriptions allow us to understand literary works, not simply as precursors to hypertextuality, but as types of two-dimensional models for fifth- or sixth-dimensional space; the literary text appears as one plane of the hypertextual, allowing for speculations about other invisible dimensions.

Tofts's piece animates other pieces in the collection that work off of an epigrammatic seriality, such as the initial numbered section of Simon Critchley's discussion of Stevens's poetry as philosophy, "Wallace Stevens and the Intricate Evasions of As," and Alan Sondheim's "Codeword," which interacts with translations of Wittgenstein's Tractatus Logico-Philosphicus itself epigrammatic to map out the logic and illogic of computer code or codework as a form which mediates uncomfortably between literature and mathematics.

In "From Hypertext to Codework," McKenzie Wark discusses how codework poetics incorporates the hidden code languages of digital processes. He also discusses a poetics of computer coding that allows multiple uses to create defamiliarized texts, and codes that self-generate hybrid language systems resembling spam: This constellation signals "a possible nocturnal fidelity to the event" whilst also confirming the event as unfathomable, limitless and unrepresentable.

The word "field" in the poem's title and its first line does not at all name the natural entity, and immediately indicates the vanishing of the land, first via the jargon of agriculture and then via geometrical terminology: Under a palimpsest of increasingly obfuscating terms from lexicons of land surveying, cartography, economics, etc. Instead of attempting to resuscitate the land from the scene of its vanishing by resorting to mawkish, Romantic images of natural, pre-industrial, primitive beauty, serenity, etc.

Armand ruptures the very tropes of such imagism to disclose nature as that which, to paraphrase Badiou, possesses a singularity that no poetic, semantic or systemic human hegemony could ever obliterate. To foreclose any chance of a return to nature poetry as a reaction against the land's physical and conceptual depredations, the rest of Armand's poem equates the pseudo- environmentalism of corporations with a manmade, literary artifice "viz.

His poem embodies a fundamental and committed absence of a perception of the environment. As another example of this crucial and programmatic disappearance of setting in Armand's poetry, we may briefly consider "Biodegradable," also from the collection Land Partition a more recent version of this poem, as published in The Penguin Anthology of Australian Poetry inhas a somewhat different typography xxvii: