View source for Para uma razao da poiesis: 4 notas/interfaces

Contrary to Walter Pater’s celebrated maxim that “All art constantly aspires towards the condition of music”, it is claimed here that the real aspiration is towards poetry, above all if we consider it as synonymous to poiesis, to creation in the broad and also extensive sense. Derived from the Greek term meaning ‘to make’ it can be applied to the whole invention of language (construction of forms) and to the reading of things (the cosmo-view of the world, of reality), it is more encompassing and applicable to the plural universe of records and the support of art and poetry. Furthermore, it would be oriented more towards poetry in the sense of reading not alienated from things, as Roland Barthes would say; in short, for a language other than the reified, repressed. This perspective is far from the particularly abstract ambition (almost of another world) that shows off music and sound, and approximates to the solidity and distance of poetry, because in essence it always dissolves between sound and feeling, between the concretion of language and its more distant and abstract materialization. Between the known feeling and that which is created. One understands poiesis as a live cell first, amplified, not just of poetry but of art. Poiesis as a defense of the inaugural creation of a language of another habitability, transverse writing, axial, as in a verse by Waly Salomão (“Poetry is axial”).