UC San Diego

exploded view: poems & series is an autotheoretical collection of two serial poems, two long-form lyric works, a digital collage series, and a sound art composition. Cross-genre and transmedial, this project uses intricate formal arrangement, anaphoraand cataphora, recursive syntax, lyric ambiguity, and nonlinearity to weave and diffract its component sections: “A Picture Containing Text,” “Complete Fragments,” “Dithering: A Postface,” “Eclogues+Variables,” “Permissions+Humors,” and “].rar.” These works are subdivided into as few as two and as many as nineteen sections, alternating across and out of the text. Unique among them, “Dithering: A Postface” is a short essay that links to a sound artwork containing 100 audio files—the entire text of an earlier draft exploded view converted into modulated pink or Brownian noise signals. By bringing the text audibly outside itself and beyond the commonsense performance of poems, exploded view contributes to theories and poetics of noise with an indeterminacy of content and form, urging noise to be taken as a method and not merely topic. exploded view does so with specific interest in means of attention, media technology and obsolescence, semiotic consumption, and metropolitan American internet culture; punk subculture, experimental musics, addiction, queer and trans experience; semiotics, psychoanalysis, and schizoanalysis. Thus it offers the following thesis: informatic hyperactivity alienates not some originary cognitive authenticity (invariably modeled on silence) but another noise that precedes and exceeds information’s oppositional capture of it. Our sensory maximalisms can and should be reclaimed through subjective singularizations encrypted against mediatic overproduction.