Listen Musical Poetry at Dramatic Track “Fucking Verbs”

Yeiiii, hi! Dear readers. Now we like to invite you to listen to this track: Fucking Verbs, and if you want moreeee here you will find more data for your brain. 1. This was a visual poem made in a fucking drama moment. LOL. Sad but true. And as a good performance artist, she made a sexy poem, and asked for the collaboration of Drag Queen June to make the video performance, and Clemente Padin to present their work. 2. If you like it, please share. XOXO

If life give you lemons, make lemonade!

Lyrics:

Tot trocken

Trieb treu

Trennen treffen

Die

Die

bello bem

belo beliscão

beiço beso

beijar

beijar

rrrr

beijar

Fuck

AKT YA

AKT

Recuerda

red recría

remember recova

recupera recula

Ir

anger hoguera

sing sueña

sonner sonnette

hallend laüten

leche lind

mild milk

lächen

Fucking Verbs, by Ra’al Ki Victorieux (A.K.A. Sugar Bloom)

Music Album Sugar Passion Ra'al Ki

Partial reading of a poem
Clemente Padín


According to the Academy it would be enough that elements of the verbal language existed in a work so that could be considered a poem. When the weight of the artistic expression would always be determining to it, that is to say, when the verbal language would be determining as responsible for the text meaning. In this poem the author works the “verbivocovisuality” that James Joyce proposed, in its total expression.

In order to decide if it is or not a poem there does exist a mechanism (something like the test of the 9 for the multiplications in Arithmetic) and that is to separate the forms of expression of the work. For example, if in a opera we separate the costume, from the singing or the stage dressing or the music or the dance, etc. We see that, in each order by it self, there’s no loss of information (therefore the song can be listened outside from the opera, and so the dance or the scenography can work as a plastic art work, etc.) Nevertheless, the same does not happen by example, with a musical drama from Wagner, because the different orders of expression are totally united and combined. That is to say, if we separate the different orders or forms of expression, we have loss of information.

In visual poetry happened the same thing: until Mallarmé, the “visual” area of the so called visual poems was to the service of the verbal dimension of the poem, that is to say, if we separate those orders we can see there’s no loss of meaning, because this depends exclusively on the verb thing. In this case (the so called carmina figurata or poems of figures) the visual act in a kind of welfare function of the verb. The visual elements can be retired and the meaning of the poem is not altered, as in the illustrated poem. By example, if we align the verses to the left breaking the figure that is formed with the beginnings and endings of the verse, we will see that the information does not change, although we lose the visual ratification.

However, after Mallarmé, the visuality could no longer be extracted without altering and impoverishing the poetic information. Said this, we could examine if the photographies really assist the verbal expression (or sound expression, because the poem also operates as an acoustic poem) or they contribute with their own meaning (which could be helping or changing the verbal signification). Thus is perceivable that the texts are written in the body of the performer and over the photographies (as much as objects). In these cases, the supports “body” and “photo”, act through their own forms of expression adding their peculiarities to the content of the poem, thus we can affirm that they are not poems of figures, in which the visual is “to the service” of the verbal, but visual poems in their modern meaning, in which, the verbal, sound and visual instances are inseparable.

Inevitably the new media have always brought changes in the way of expression and thus, we arrive to the typical situation of all genuine art work: “it communicates too much and too little”, according to the expression of Umberto Eco, establishing new spaces of meaning that force us to extreme the interpretation according to the poet statement and to the free game of the forms. They say that we will have to find the algorithms of interpretation of the new discovered and developed forms in the poem. In this case, to open the information that Iris’ poem bring to us, because it is there (and only there) where we will have to discover the new information that her proposes.

Brotherly.

Clemente Padin

Listen to the album “Sugar Passion” at Soundcloud

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