This week, we introduce poet and artist Ever Saskya with supreme enthusiasm. As she describes, her Visual Sound Poem (VSP) project has been an artistic endeavor for seven years now. Both fascinating and daunting, the ambitions behind Saskya's VSP's exhibit a feckless will to engage something otherwise considered to be artistic impossibility, to translate sound waves into visual templates and then to transcribe that synergetic process through poetic language. When reading Saskya's description of her project, I remember Ezra Pound's memoir of French sculptor Henri Gaudier-Brzeska, in which the theory of Vorticism is explained as "art before it has spread itself into flaccidity, into elaboration, and secondary applications" (88). The premise of Vorticism is the attempt to capture movement in a visual or poetic image. That is, to harness the physical energy of activity and galvanize the static object with it. While Vorticism as a cohesive artistic movement ground to a halt not long after its birth, its spirit is quite alive in Saskya's intent here to galvanize otherwise static and ordinary sounds in visual and linguistic form.
"For Cobb, like Susan Howe and Robert Duncan, the truth of what a fact is lies in the term’s historical derivation, and that truth, contrary to popular belief, shows fact to be a form of social production, a gathering rather than a dividing of cultural values and observations. To think of fact in this way, socially constructed and process oriented, compels us then to re-imagine the parameters of Perloff’s question. One reason for writing something that doesn’t resemble “poetry” and then passing it off as such, could be to historicize and denaturalize the very notion of genres. Cobb confirms art and fact to be ineluctably commensurable with one another, conceiving both to be in essential correspondence with the trace."