Thesis (M.A.)--West Virginia University, 2005 / Title from document title page. Document formatted into pages; contains iv, 36 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 36).

Thesis (Ph. D.)--UCLA, 2009. / Vita. Includes bibliographical references (leaves 308-324).

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains ix, 209 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center

Thesis (doctoral)--Université de la Sorbonne nouvelle Paris III, 1997. / Cover title. Includes bibliographical references (p. 409-441) and index.

<p> This dissertation is meant to be the scene of an experiment. It is meant to be a scene of observation and auscultation striving to fathom the work of <i>poiesis</i> as it manifests itself in select pieces of experimental poetry created by artists and writers of the 20^th-century avant-gardes. Our study notably poses the question of how <i>poiesis</i> draws on, and seeks to incorporate the experience of sensible things, examining also how this accentuation of perception in the making of a poem feeds into, viz. falls in line with the accentuation of the poem's sensible thing-ness. We will investigate how the abovementioned artists undertake to "make sense" of their experience of the things of the life-world, namely by grounding the signifying of their poetry in the mattering of <i>poietic</i> matter. We will investigate how their poems come to produce sense qua their mere being sensible, i.e. qua their being sensible as visual and/or aural matter that matters to us by virtue of its very visual and/or aural phenomenality.</p><p> As we will argue, with this emphasis on the production of a sensible presence, these poetic experiments not only establish the primacy of perception, but &ndash; more important &ndash; they also prove to loosen, and oftentimes even cut the close ties that <i>poiesis</i> is commonly considered to have with the semiotic order. Thus, instead of fabricating a communicational language, the experiment called <i>poiesis</i> giving rise to these works is in the first place destined to create the poem as a material thing. We will show that, as such a material thing, the experimental poem interpellates the senses via a language of materiality that, for its part, translates the materiality of the things of the life-world. We will show that, in lieu of straightforwardly abiding by the laws of semioticity, the poietic language of the works we are about to encounter rather emanates from the poems' very physique; i.e., that this "physical" language forged in defiance of the semiotic order thus rather proves to be consubstantial with the mattering of the matter that gives shape to the body of the poem.</p><p> In the course of our study, we will pay particular attention to how the work of <i>poiesis</i> &ndash; as it comes to crystallize and persist in the bodiliness of the respective poem &ndash; is, namely, pregnant with the gestures and the flesh of the body that conceived it. Beginning with the surface analysis of the physiognomy of a work by Man Ray, we will then turn to delving into the depths of the poems' corporeality. Anatomizing pieces from the oeuvres of Henri Chopin and Gerhard R&uuml;hm, we will discover &ndash; step-by-step and layer-by-layer &ndash; how both the scriptural and the oral practices constituting their work are infused with the pulsating of the human body. As we will suggest, the sensing of the scriptural and aural anatomies that build the body of Chopin's and R&uuml;hm's works always involves the sensing of the displaced and disfigured human body. This turn of <i> poiesis</i> to the human senses thus allows for a sensitization of the works themselves &ndash; in the sense that they become sensible bodies whose very bodiliness embraces, re-appropriates, and exudes the materiality of the life-world.</p><p>

<p> Conceptualized by Costa Rican artist Guillermo Vargas Jim&eacute;nez (known as Habacuc), <i>Exposici&oacute;n #1</i> [Exposition #1](or its more infamous moniker &ldquo;starving dog art&rdquo;)(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork&rsquo;s exhibition. This thesis analyzes Habacuc&rsquo;s proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, <i>Exposici&oacute;n #1,</i> arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within <i>Exposici&oacute;n #1</i> and Habacuc&rsquo;s authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as &ldquo;global village.&rdquo; </p><p>

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