a wavedevice is a product of the intellect which must survive in the storm of feeling
a poemdevice is an interlocutor between designed intelligence and tidal expression
poetic devices test the possibilities of writing
a tidepoem reaches beyond rational land into the immeasurable domain of the sea
an array of devices producing energy and meaning: book of poems
the tension between sound and sense is the means by which tidepoems produce energy
the typographer can attempt innovative representations of breath and tide, but the sea always remains absent from the page
with only a handful of letters you can fill an ocean with sense and sound
sometimes sound drives a wave through the bay – sometimes the beach accepts its sense
every speech community is shipwrecked eventually
This performative piece is the sound track to the iteration, "Portraits - Distillation", which is a melding of two sound pieces, "Portraits - Visemes I & II". The recorded element speaks to my practice-based PhD project, "X Portraits - Toward a Realized Poetic Play." In my project I work in and develop a hybrid form of performative-text called the 'Poetic Play.’ My inquiry addresses the question: How can a dialogic practice-based investigation of the hybrid form of the poetic play through the five individual sense modalities assist in the aesthetic situating of, and subsequently the fully realized definition of, the poetic play? Each iteration of the longer serial piece, "Portraits" addresses motifs that are universal to the entire series as well as themes that are specific to the particular iteration. "Portraits - Visemes" addresses the universal motif of nationalism as well as it's own local themes including relationships between sound/silence, interior/exterior, subject/object, and the haptic sense. "Portraits - Distillation" was performed at the Centre for Creative Collaboration in London being played and projected through a large plastic sheet in the installation performance of "Portraits - Scoring". The remaining "Portraits" iterations follow in various media and platforms, each emphasizing another of the five senses.
R told S what T would do tomorrow.
U was Molly Mog's puppet at his time of transmigration.
V went to Italy with money and left W farewelling.
As if the setting sun could be caught unannoyed my dear heart.
The ruinated renovated.
Three words and a half smile sometimes recall the most pastoral of authors.
At the cataclysm X will be sunk in Spinoza in a cabman's shelter.
Where there's a parcel of singers there's a cargo of songs.
Y didn't seem luciferous to Z but meteorous.
That, now, is a useful sort of mercury. A gloss ribboned round, to be able to make the switch whenever it’s needed. The slip, the slipping. Felt matting that remains on hand. Or, at least, in a handy cupboard. I want to know better how the reorganisation is choreographed. What moves, what is morphed, what is left behind. I want to know how to effect this sort of bypass. But I want, myself, to do the rosters.
“today’s ah bit tree arch…with martyred lamb witch bones”
all the truths & all the slants telling until
there are more slants than truths
Fitting words around life and life around words, Sarah’s practice is one of constant refining and defining, drawing from and developing on both mainstream and more experimental traditions. She also enjoys working with, in and from multi-media, cross-genre and mixed art-forms.