Cut-Ups Exercise – Communications from elsewhere

For this exercise, we were instructed to write a poem composed entirely of phrases listed from other sources. I looked through a variety of sources before deciding which I wanted to use. Further explanation of these choices can be found after the poem. There are several available engines that one can use to cut-up their work to reconfigure it. I did not use one, although I would be interested in seeing how (or if) it would change the syntax and interpretations of this work.

Communications from Elsewhere

Any number of discourses concerning the cultural paradigm of context may be found.
Thus, the subject is interpolated into a postcapitalist modernist theory that includes language as a totality and places contexts of dialectic and
Reaches consensuses of failure.
The cultural paradigm of context states that culture has intrinsic meaning.
Either reject dialectic sublimation
conclude that the purpose of the poet is deconstruction,
given that language is equal to culture.
However, if textual objectivism holds,
we have to choose between
Structuralist desituationism and the postdialectic paradigm of expression
A predominant concept is the concept of dialectic narrativity and consensuses of dialectic.
The realities of futility
In a sense, the subject is contextualised into a theory that includes narrativity as a whole.
It could be said that many dematerialisms
(concerning the difference between society and consciousness)
may be revealed.

I chose to use the Post-Modernist generator and generated a range of essays, and selected lines from each that I enjoyed. The PoMo generator randomly creates essays using intentionally convoluted language, mimicking and critiquing the sometimes nonsensical approach to academia that post-modern intellectualism uses. While the language makes sense on one level, and is for the most part grammatically correct, it has little to know real meaning. Instead, it plays with language and sound, rather than looking for direct meaning. The abstraction allows for the audience to interpret the poem more loosely, an also gives one the freedom to not apply any interpretation whatsoever – instead, focusing instead on the poetic expression.


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