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"The poem may become a site for varying degrees of ‘naive’ experience, seeing the art object or engaging with it through any number of different filters, veils—at such a distance from anything one might call the ‘thing in itself.’ The poem also can act pre-critically or post-critically—as a kind of processor for ‘understanding.’ What we ‘see’ in the work of art; the way the art sees us through the lens of social processes, cultural antagonism, the institutional situations wherein it appears (whether magazine, museum, gallery, site, classroom, film, internet, etc.).
The poem, for me, composes ideas, percepts, and thoughts while they are still in process. It is a learning machine or a vision machine engaged with what the art object might reveal as culturally meaningful or, on the other hand, as a withdrawal from cultural meaning—legibility, visibility, exchangeability. It is a bachelor machine inasmuch as it is bounded, prosthetic, and artificial."
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