I don't know if this URL will work--if not, just Google "foamfeatheredness" or better, the Italian title he came up with, "Schiumopiumosità". The English version is first on that page, and it's a somewhat long poem, but the Italian is there, just below it.
Gherardo has done, I think, quite a bit of translating from English into Italian, so he may have some interesting things to say about the process of translating flarf versus other poetries. He's also translated work by Kasey.
I don't have his e-mail handy, but if you poke around on that site -- GAMM -- you may be able to find it.
Thanks, Gary. How did you write this poem? Because my question is concerned with Google-sculpting and Kasey's sonnetograms, that is to say Flarf's most procedural writing.
This poem was also procedurally written, and is sort of a translation itself.
I took the first poem in Clark Coolidge's _Solution Passage_, which is one of my all-time favorite books of poetry, and ran each line of the poem through Google.
I then attempted to create a translation of Coolidge's poem by picking out lines from the returns that seemed to speak in some way to the original.
So that's actually not strictly procedural, but quasi-procedural.
I'm not sure what Gherardo's method of translation here was, but because he did not know how the poem had been written, my guess is that it is an attempt to render in Italian some sense of the effect in the original.
This becomes an interesting question with respect to procedural or even quasi procedural writing and translation: do you translate the final result or do you translate the procedure?
I would attempt to do both, and then pick and choose between the two draft translations to create a third draft that has traces of both.
I've been doing that, or something like that, in translating the poetry of Ernst Herbeck, an institutionalized Austrian schizophrenic, who wrote poetry at the bequest of the head psychologist at Maria Gugging, where he spent most of his life.
Herbeck didn't write procedurally, but there were certain constraints that I've thought about and used as part of the translation process. Then, I started working with a woman from Germany to create more literal translations.
The final book, when it's done, will be sort of a mix, I think.
Comments
http://gammm.org/index.php/2007/11/05/foamfeatheredness-gary-sullivan-2007
I don't know if this URL will work--if not, just Google "foamfeatheredness" or better, the Italian title he came up with, "Schiumopiumosità". The English version is first on that page, and it's a somewhat long poem, but the Italian is there, just below it.
Gherardo has done, I think, quite a bit of translating from English into Italian, so he may have some interesting things to say about the process of translating flarf versus other poetries. He's also translated work by Kasey.
I don't have his e-mail handy, but if you poke around on that site -- GAMM -- you may be able to find it.
I took the first poem in Clark Coolidge's _Solution Passage_, which is one of my all-time favorite books of poetry, and ran each line of the poem through Google.
I then attempted to create a translation of Coolidge's poem by picking out lines from the returns that seemed to speak in some way to the original.
So that's actually not strictly procedural, but quasi-procedural.
I'm not sure what Gherardo's method of translation here was, but because he did not know how the poem had been written, my guess is that it is an attempt to render in Italian some sense of the effect in the original.
This becomes an interesting question with respect to procedural or even quasi procedural writing and translation: do you translate the final result or do you translate the procedure?
I would attempt to do both, and then pick and choose between the two draft translations to create a third draft that has traces of both.
I've been doing that, or something like that, in translating the poetry of Ernst Herbeck, an institutionalized Austrian schizophrenic, who wrote poetry at the bequest of the head psychologist at Maria Gugging, where he spent most of his life.
Herbeck didn't write procedurally, but there were certain constraints that I've thought about and used as part of the translation process. Then, I started working with a woman from Germany to create more literal translations.
The final book, when it's done, will be sort of a mix, I think.