Repetition behaves and interacts to produce synchronicity and divergence in the meta. 

By meta, I am referring (rhetorically) to its possessing inducement and modulation of both meaning and focus.

Repetition acts to underscore beauty in all its traffic patterns as an immersive, inherent in nature of time and language itself. 

Rhyme is a colossal element of repetition. Repetition is a key (though not the only key) to harmonic usage in poetry. And in some cases fiction. 

As a fixation, repetitions in poetry can run in place, run over and over and under itself. Experiences the meta as a wave. Repetition in song creates waves.  

In fiction, repetition is used, more simply, to retell what has come before. It is used precisely in order to develop and further the narrative, based on what came before it. 

Unless of course its poetic, like Beckett. In which case repetition and time turn into sluice and are coeval, and change is induced into tracery. Tracery as cruciform with time — time itself a carrier of the fixation that never unchanges. 

Trauma more generally I think of as a force multiplier of change. And without fixation, it is empty of both. 

In poetry — using displacement in pursuit of metamorphosis, is a general methodology for exploring transformations. 

Jouissance is alive in all language. Even names for equations in math. Flow velocity, velocity pseudo vector, volume flux. 

I think of these as open to parody, and parody as working in league with measuring outfalls of meta, relative to conjuring what touches on human — as both implicitly and complicitly jouissance. 

Fixations that return again and again are (for poets anyway) considered a “real steal.” (Just ask Shakespeare.)

A piratical emissivity whose turn is at a crossroads, so authentic and transformational, it doubles as a hinge. 

A place marked forever in one’s ear. That is under the volcano. From it enlists an endless flow of signal, signal being a presentaneous embodiment of symbol in time and meaning. 

For instance, what occurs as “signal detection” at a sudden new turn on an archaic construction or subtle recognition of a synthesis that penetrates the entire poem or sudden entree in work of another dead poets compass. (Just ask Shakespeare.)

Fixation is a form of dalliance, and irruption its contretemps. 

Poets often refer to the active (latent/potent) agent in meta as its fat, coffee or sugar.  

Trauma imperils it, beyond the real. The real (as thought of in laymen’s terms) can’t justify it. So it usually gets relegated to folly-madness-obsession.

Trauma inherently experiences something unthinkable, that bursts through subjugations of belief. 

And its irruptions cause an explosion of stunning perplexing exponentials, so disruptive-unyielding-ecliptic, one can easily drown in it. 

Incessant implosions tread with the meaning of sickness. Compulsions that often seem in contravention of what functions as congruent with the real, in defiance of the real, in defiance of life itself.

William Burroughs touches on this. So does Thomas Pynchon. So does Malcolm Lowry, even F. Scott Fitzgerald. 

Popular music, as an eternal repetition, often captures ecliptic transformations as discordant and lurid. A marjoy that is both broadly and painfully emancipatory — destabilizing, unstinting, nonreversible.

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