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highly ordered in this fashion with a precise emphasis on their ultimate interpretation. There is a highly respected profession thats sole function is to stack words in a hyper-dense information-less configuration. This marketing industry has scientifically drained every word in every language of its natural romance. No longer are words the external approximation of our inner passions, they are now vessels for SUV advertisements.
As much as we've tried to distort the language, the words within this book are not much different. Each sentence has been programmed toward the purpose of deconstructing capitalism via pile movement. This emphasis on organization makes us little better than our peers in public relations. When we are confronted with unordered words or words that culminate in non-sense it is a very unnerving feeling. Our reliance on the written word is so ingrained that when the word is used for purposes other than clarification, it becomes very disorienting. This written word is a tool used to help order you within an environment. Our visual bias needs constant clarification and supplemental reinforcement in the form of written language. A species, such as ours truly, that is as hopelessly reliant on one sense to survive must develop crutches to cope with the entropy of the planet. For these reasons, words were invented to create order. But they also have the capacity to unleash chaos. Here, we are not referring to the inciteful language of revolts and revolutions. All that action language is as ordered and purpose driven as the consumer vocabulary it tends to abhor. No, instead we are here addressing the disorienting language of indistinguishable purpose |
and intention. One of the most novel and flattering definitions that has been stapled to the concept of art is this: art is useless. Uselessness being another shared attribute of art and pile migration, we will explore pile-based arrangements of words and thoughts (because thoughts occur to us disguised as words). And we will call these arrangements art.
To use a happy stereotype, the Irish – that is to say the people born on the island of Ireland – have proved particularly capable at subverting words towards the unhinging of order. It's hard to ascertain if this stereotypical ability comes from their stereotypical alcoholism or their stereotypical oppression. Perhaps it arrived through the genetics of the last wave of paganism that happened to land on the island's stereotypically green shores. We shall leave these determinations to qualified archaeological philosophers. Regardless, beyond the obvious and impending discussion of Irish literature, the music, the accent and the discourse in rural Ireland all spear the foreign observer with an artful incomprehension that floats in the air. Now to the obvious and immenent discussion of Irish literature – namely Samuel Beckett, discreetly James Joyce. More than simply piling words upon one another like some gutless poets, these two writers foreshadowed the pile migration movement by seventy years. With every page, published works like Ulysses, Finnegan's Wake, Watt and Molloy accumulate massive deposits of pile matter in the form of words and ideas. The authors then shift the ground of the pile (idea) to a meaning above, below or beyond the initial accumulation. Their piles (books), Joyce's and Beckett's, have meanings outside |
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