Richard_Blaine
Prosthesis for a Poem
“The power of experience destroys the illusion of progress and gathers the past and present into the future.”
- Theodor Adorno
As Marcia recites poetry this string game device (for this example in the cradle mode, representing both the site used and alluding to the Oedipus Complex) acts to amplify the sense of mythological time created by the oral performance based on Ong’s ideas of literary time and oral time. The prosthesis is put together by Miss Blaine in accordance with the Spair-Whorf hypothesis and ideas of the erotic each time she uses it. It is intrinsically linked to her by her hands, which articulate the storytelling element of the performance of the poem above. The sliding of the fibres of the string – an interpretation of McTaggart – and the various hooked on fragments, produce a reaction relative to the surroundings. Thus the fragmented body of candles and mirrors is articulated through space, managing to disrupt Marcia’s Ego’s (Freud) image of itself to negate the mirror stage (Lacan). Thus her constructivist time based Superego and her primitive ID are brought into direct conversation. This relative clashing of timeframes is recorded by candles and headphones to give a tangential measurement of the entirely personal experience – much like a fox’s nose in the dark.
However since our perception of time is so strong and the body we see is fragmented by our visual perception, the psychological effect can never fully take over, and must always be used in conjunction with the poem. Thus Marcia can never completely escape time.
Prosthesis for a Poem
“The power of experience destroys the illusion of progress and gathers the past and present into the future.”
- Theodor Adorno
As Marcia recites poetry this string game device (for this example in the cradle mode, representing both the site used and alluding to the Oedipus Complex) acts to amplify the sense of mythological time created by the oral performance based on Ong’s ideas of literary time and oral time. The prosthesis is put together by Miss Blaine in accordance with the Spair-Whorf hypothesis and ideas of the erotic each time she uses it. It is intrinsically linked to her by her hands, which articulate the storytelling element of the performance of the poem above. The sliding of the fibres of the string – an interpretation of McTaggart – and the various hooked on fragments, produce a reaction relative to the surroundings. Thus the fragmented body of candles and mirrors is articulated through space, managing to disrupt Marcia’s Ego’s (Freud) image of itself to negate the mirror stage (Lacan). Thus her constructivist time based Superego and her primitive ID are brought into direct conversation. This relative clashing of timeframes is recorded by candles and headphones to give a tangential measurement of the entirely personal experience – much like a fox’s nose in the dark.
However since our perception of time is so strong and the body we see is fragmented by our visual perception, the psychological effect can never fully take over, and must always be used in conjunction with the poem. Thus Marcia can never completely escape time.