Poetical Diaries (1959–1968.)
WORDS AND COLOURS
To take a great sheet of paper from sketching pad, or a large white cardboard, and draw words on with ink, then join them associatively and make a poem. It is possible to draw these words in various colors. Say the words that would mark constant, i.e. permanent symbols in the next poems are to be colored in red, the others in other way, their poetical intensity being graded by the colors at the same time.
A POEM AS A NATURAL PROCESS
To exclude the real world from the poems. The world of things and the world of beings. To tend toward a poetry of complicated inorganic amorphous forms. Something similar to abstract (non-figurative) painting. An inspiration for all that is to be looked for, first of all, in exact sciences. A poem would be identified with sound and vague picture, of non-precise contours where objects lose their identity.* The constant the universal-individual relationship to be viewed through a poem as a natural process.
THE PLAYS OF MATTER
Matter often sets witty traps to human intellect. Those are skillful hydra of the abstract language of Matter. They are a product of its hot temper and desire for play. All matter is permeated with a desire for play. That is where the essence of its dialectic nature is. Various forms in which the Matter displays itself are obvious examples of its spiritual games: a special structure of elements, compounds, aggregate states, the variety of the structure of the Universe. The apparent optionality of those games can be a serious obstacle that will often lead a scientific and systematical mind to a dilemma, but by the same token it can never confuse a poet, his imagination and sense for the wonderful. A poet is a player himself and he can accept the game at any moment. Therefore the key of a final cognition of the essence of Matter and Space is not only in the hands of scientists, but also in the hands of poets.
1. THE WORDS ARE CHOSEN AND COLLECTED IN A SPECIAL CHAMBER. THERE THEY ARE EXPOSED TO VARIOUS PRESSURES. 2. IN THE NEXT PHASES THEY ARE ACCELERATED. THEY MOVE MORE AND MORE RAPIDLY IN A GROWING SPIRAL. THEIR ENERGY IS BEING ACCUMULATED AND INCREASING CONSIDERABLY. 3. FINALLY AT CERTAIN VELOCITIES THE WORDS GET AWAY FROM THEIR SPIRAL PATH AND ARE SHOT AT A HUGE SCREEN. ON THE SCREEN QUITE UNEXPECTED LINGUISTIC AND POETICAL CREATIONS ARE FORMED GRADUALLY.
DISINTEGRATION OF LANGUAGE
LINGUISTIC STRUCTURE IS MOLECULAR. IN A DEEPER SENSE IT IS ATOMIC TOO. WORDS ARE MOLECULES OF PARTICULAR LANGUAGE. THE LETTERS THAT MAKE UP WORDS ARE ATOMS. MIXING AND JOINING MUTUALLY THEY BUILD COMPLEX LINGUISTIC COMPOUNDS.
RELATIVITY OF SPACE AND TIME IN AN EINSTEIN IAN SENSE ENTAILS ALSO A RELATIVITY OF LANGUAGE. APPARENTLY FIRM LOGICAL AND SYNTACTICAL LINGUISTIC BUILDINGS BREAK DOWN UNDER THE IMPACT OF IMAGINATIVE POETICAL AGENTS. THUS FREEDOM OF POEM IS REALIZED. LANGUAGE DECOMPOSES INTO HIS ELEMENTARY PARTS WORDS AND LETTERS READY TO CREATE A DIFFERENT PICTURE OF THE WORLD UNDER THE INFLUENCE OF NEW BUILDING ENERGIES.
DECOMPOSITION OF LANGUAGE IS SIMILAR TO DECOMPOSITION OF STARRY MATTER.
EXPLOSION OF UNIVERSE
EXPLOSION OF LANGUAGE
EXPLOSION OF UNIVERSE - A CHANGE OF THE FORM OF MATTEREXPLOSION OF LANGUAGE - A QUALITATIVE CHANGE OF SENSE (MEANING)DISTURBED LANGUAGE RADIATES LIKE SHATTERED MATTERLINGUISTIC PARTICLES (LINGUATRONS.....) DISSIPATE IN ALL DIRECTIONS
LANGUAGE – WEAPONS
Wave motion of words in closed circular path. Complex, intermingled moving of linguistic particles, of imaginative projectiles. Birth of poem under influence of starry forces, radiation of matter and radiation of spirit.
Language (words) melts into a fluid meaning. That is the intangible energy of language that penetrates our consciousness, arms it. Language is a basic weapon of man in universe.
Scientism represents a crown of Antiromantism in poetry, of negations of the subjective and subjectivist, of the poetry based on exclusivity of emotions and emotional states.
Matter and Energy are outside the subjective.
Scientism looks with its staroscops not only into the endless depths of Space and Time, but also into abysses of Poem and Language.
Poem is a galaxy of spirit filled with poetical matter and energy. In that galaxy one builds and demolishes by means of creative imagination.*Secrets of atom - Secrets of poemparticles of matter - particles of language
LANGUAGE OF SCIENTIST POETRY
Science is language. Poetry is language. Science is a language of the core and structure of Matter and Universe. Past poetry is a language of the relationship of Man and the exterior wrapping, the shell of Universe. New (scientific) poetry will be a language of Man, core, structure of Universe and Matter, as well as of their mutual permeations. In the language of scientific poetry we will be able to interpret and decipher better the nature's messages.
THE RATIONAL AND IRRATIONAL
Rigidity of scientific laws must not discourage a scientistic poet. No scientific law, as well as theory, and even less so a hypothesis, except those most universal, can aspire to a distant future. It can be viewed better in a broader history of sciences. The changes in those exact areas are almost similar to the changes in domain of poetical forms.
The most recent interpretations by linguists teach that language did not originate first of all as a means of communication but of cognition. Primordial man gave name to thing in order to separate and discern it.
Realization of a unity of poetry and science we see, first of all, in formation of a new poetical language.
Scientific poetry relies mostly upon the experiences of exact sciences. It has object and process before itself. It is a poetry of object and process.
Scientism will be always in trouble between two basic ways of learning and accepting the world - the rational and irrational one.
IMAGINATIVE ENERGY AND SPECTRUM OF POEM
Language and Poem are not an unchangeable and forever given mechanism, they renovate and recreate themselves perpetually. In that The dialectics of Nature and Matter is almost identical to dialectics of Poem and Language.
Imaginative energy gathers and holds linguistic elements as particular poetical totality by its attractive force. The potential of that energy is what the number and quality of the elements will depend on, as well as the strength of the poem.
Every element of poetical totality radiates its own energy. Semantic length and the strength of that poetry is different. Radiation of all elements of poem makes up its spectrum.
Although it is multilayered, multiradial and multimeaning the language of poem is a compact one. Only with special methods and analysis we can separate radiations of particular elements.
a. Penetration into linguistic system of science
b. Systematical poetization of scientific symbol
c. Poetical prequalification of scientific vision of the world
2. Light of language
a. Motion of language b. Linguistic inertion c. Aggregate states of language d. Linguistic shades e. Radiation of scientific language f. Wavelength of language g. Linguistic tension h. Linguistic impulse i. Linguistic core j. Light of language k. Linguistic photons (linguatrons) l. Breathing of language
3. Abyss of language
a. The fourth dimension of language b. Graphical display of linguistic units c. Sonic currents in language d. Being of language e. Linguistic space f. Limits of language
Poem as an emotional and intellectual category does not opposes to Matter. They make up a unity in their common disrespect of Death.
ON POSSIBILITIES OF LOGICAL AND MATHEMATICAL ANALYSIS OF UNIVERSE AND POEM
„The Universe is logical“, claims British astronomer and astrophysicist Fred Hoyle, creator of the most recent very interesting hypothesis about origin of the Universe. What can we draw from his claim? First of all that the Universe is liable to a logical and mathematical analysis of our consciousness. From this it follows further on that the discovering of its essence is possible depending on the conditions of research and possibilities of theoretical generalization. Logicality of the Universe is „higher“ in a sense than that we meet in our daily relationship with things. Irrelevancy of physical and chemical laws on cosmic scale has been already proved, especially at the examination of its origin and essence. Laws are posed and notions are ascertained that are valid until certain limit of theoretical generalization. Then on the basis of those laws new ones are discovered that eliminate the previous ones. One sphere has been overcome, one enters a new one that demands other notions and wider theoretical explanations for their final cognition. This „higher“ logicality of the Universe is identical to the logic possessed by our poetry. As a universe in miniature, the new poetry hides in itself a cemetery of the already known poetical and even physical and chemical, and moral and legal laws and canons. Yet, that hiding does not help it at all to avoid the ruthless logical and mathematical analysis of our consciousness. As well as in researching the Universe, we will pose new rules instead of the broken ones, make generalizations, enter new spheres, move deeper and deeper to the heart of Poem. If in that mathematical analysis we also asses the energy of its language, it is very important to determine the number showing how much the valence of the poet's mind (consciousness) has been increased in the moment of creation. This holds if we understand valence in a broader sense than chemistry does, as an ability of poet's mind to assimilate different notions of external and internal world, building stabile compounds with them, called poem by us.
ABOUT MOTION OF MATTER
The movements of blood plasma at the timid orders of reasonable cells are similar to touching of my consciousness liable to radiations of certain galaxies, evasive for ambitious lens of staroscops. The shape of this set of granular Matter, always changeable both quantitatively and qualitatively, discouraged by the immeasurability of Space it exists in, creates new demonic deities of life. This is that creative process (effort) of living Matter being yet something more than a „substance gifted by Form“, as it is defined dreary by Descartes, having emphasized first of all its geometrical qualities, and neglected, by his non-metaphorical assessment, its most significant property, motion (a thing not to be missed in this case).For Matter is a motion, an escape from abyss, like a flight of a night bird conditioned by peculiarities of its instincts, that bird being not permitted by the stoic cosmology of its own being to succumb to the deceitful sensual deception of Space and to the floral odours of Death being opened by darkness even in its most innocent moments.
ON TIME UNITS
Time units are lead walls separating us from the radiation of other worlds. Time should be identified with death, for it kills imagination and destroys the logic of common sense. Ruthless in its eloquent assumptions, it shows to us clearly our disability in our overcoming the micro- and macrocosmos. While I stand in front of abyss looking at stars, in my eye, in the staroscop, there is a little patch of the galaxy 500 000 light years away. Five thousand years light travels in order to mirror its source in my consciousness and leave a proof of our weakness in relation to Time. Logic and common sense are completely lost before the horrors of time distances. Only mathematics is still able to endure all their weight. By ruthless, poetical and metaphorical and almost horrible scenes it measures precisely and dissects the huge body of the time animal our imagination has already got exhausted before.
ON COSMIC DISASTERS
I expect destruction of our Universe in fifteen milliards years. I imply thereby first of all a change of form, and perhaps also of magnitude in relation to today's scale, and by no means also a destruction of its creative strength of Matter. Matter will be both main bearer and initiator of destruction of today's form of Universe. This emanates from the depth of its dialectic nature. Prone to very frequent, excessive changes, Matter seldom retains only one form. With physical processes it changes just externally, passes from one aggregate state into another, with molecules mixing, condensing or diluting, but remaining same qualitatively. With chemical processes firm molecular structures are being shattered and atoms of elements mix and join into compounds according to chemical laws, changing the Matter qualitatively. Science knows one more essential and deeper change of the forms of Matter that is not taking place in molecule any more, but in atom itself, in fact in its nucleus, where by changing the number of particles constituting it some elements are being destroyed and the other ones created. It has been known that basic substance (elements) differ just by the number of protons in their nuclei. If we take hydrogen nucleus, consisting of one proton, and add one more of these particles we will get a helium nucleus. Adding a proton to helium we get lithium etc. Matter can be continually changed in this way to the heaviest elements containing in their nuclei several dozens of neutrons. This change is possible only in certain conditions of temperature and pressure. In order to overcome the hostile electrical force resisting to allow connecting of protons, for they are of same (positive) electrical charge, one needs enormous temperatures and pressures. Such temperatures and pressures occur regularly in cosmic disasters. At this moment the Matter of our Universe is in an expansion. Its conquering efforts are directed to unforeseeable Spaces beyond stars and Time. Yet the Energy of its expansion is not infinite. At one moment the Universe gets exhausted, almost before the very goal, having spent almost all Energy, but not renouncing its intentions it contracts concentrating the Matter for new conquests. By the concentration the form of previous Universe changes (that is where its defeat is), Matter contracts and condensates, Energy increases. In the condensed magma of total cosmic Matter unconceivable temperatures and pressures reign, as a consequence of combined actions of gravitational forces and thermonuclear reactions. Under their influence atoms of elements change continually, giving newer and newer forms of Matter. At a moment, under the impacts of the accumulated Energy, this huge cosmic egg explodes, and the concentrated Matter with a great élan expands again, building new worlds. One universe finished, another lasts until consumption of the concentrated Energy. The defeat of the Universe I am in and from which I have grabbed this little Matter, transformed into its most genial form, the living substance gifted by consciousness, for its worthless existence, is my complete defeat as well. For at the moment when in fifteen milliards years molecules and atoms, making up my physical and conscious being, are made formless (changed qualitatively) in the universal chaos of cosmic disaster and when after the explosion of all Matter they are bounced from each others for milliards light years, also the last particles of my apparition will cease to warn the Universe that I existed, that I was horrified at it, opposed to it and threatened it, I will experience my final defeat plunging to the deepest end irreversible whirlpools of Nothingness.
Niš 1962. Belgrade 1966.
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