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Matisse: Interior with violin (detail)
Not a Cosmic Convergence:
Rhetorics, Poetics, Performance, 
and the Web

(Well, not necessarily . . .)
or Writing with My Eyes Open
(or Never Talk to Strangers )

Myka Vielstimmig

5 seconds, people... 
Cue house lights.
Cue sound one.  3, 2, and
Wait-- first . . .
A little Introduction
for the Kairos reader.
"A dark night in a city that knows how to keep its secrets . . ."                             note

House lights down. 
Sound one:

Bartender, I'd like a manhattan, please.

Stop me if you've heard this one, but I feel as though we've met before.

Now tell me did you really think I'd fall for that old line? I was not born just yesterday.

Cue visual one. . .

Besides I never talk to strangers anyway.

Visual one--make it 
the whole right column:

  I wanted to begin with something French and decadent. Something Baudrillardian, noir as I wanna be. But here at the end of the 20th century, noir is--well, diverting, amusing, but . . .

Nostalgic (and as xenophobic as the French). It doesn't move us forward. To explore the territory ahead--where we see what might be a more visible convergence of rhetoric and poetics, of narrative and exposition, and even of visual aesthetics with all of these--we need to construct a more optimistic postmodernism.

What current experiments in academic writing do, seen through the lens of readership, is to invite the reader to play a role in the text with the writer, and also apart from the writer perhaps; that's one effect of re-presenting collage-like invention processes. An effort to please the reader, too: to provide an aesthetic experience.

Cue visual two. . .

And fundamentally, to understand that the writer can't control how any text will be read or narrativized--will be experienced. Or: how others may join in the plot.

Visual two:

  Cube Ist as Cube Dost

Picasso: Trois Musiciens

In a Station of the Metro

Myka Vielstimmig
We're learning 
to love the . . .
The intuitive leap? 


The juxtaposition.

The unarticulated predication.
The apparition of these 
faces in the crowd;
Writing this way in academic texts is a stylistic choice to represent synthesis and process. As such, it jars the reader away from the analytical habit. But that doesn't make it inarticulate or incoherent, as some fear.
The new (the email?) essay seems to have its own logic: intuitive, emergent, dialogic, grounded in working together and in re/presenting that working together.
New Essay 
Digital Essay
 Petals on a wet, black bough.