deepundergroundpoetry.com
CoCoin Inc. (Read the signpost in the comments first, or... just enjoy the video.)
Welcome to the hell-
paved Hwy 670 (exit 5)
of capitalist-consumer
destiny, where drivers
save; and save PLENTY
of wasted lives for
the low-low penny of
not spending a single
scent of mental energy.
And the tumefaction
time-resultant of the
lack of action is covered
by Couch Co. Indemnity
Inc., so driving your
scentless amenity is
now GUARANTEED to
never bother anybody
else's identity stench.
At CoCoIn Inc., we strive
while you confidently
pinch a mint! You'll never
again have to give a
dime for somebody else-
s'think. Defenseless
drivers now qualify for no
up-front, out of pocket ex-
Pence! -Sin., F. Ink (Pres.)
paved Hwy 670 (exit 5)
of capitalist-consumer
destiny, where drivers
save; and save PLENTY
of wasted lives for
the low-low penny of
not spending a single
scent of mental energy.
And the tumefaction
time-resultant of the
lack of action is covered
by Couch Co. Indemnity
Inc., so driving your
scentless amenity is
now GUARANTEED to
never bother anybody
else's identity stench.
At CoCoIn Inc., we strive
while you confidently
pinch a mint! You'll never
again have to give a
dime for somebody else-
s'think. Defenseless
drivers now qualify for no
up-front, out of pocket ex-
Pence! -Sin., F. Ink (Pres.)
Published 25th Jul 2021
| Edited 26th Jul 2021
Author's Note
The consumer-capitalist of politics.
All writing remains the property of the author. Don't use it for any purpose without their permission.
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The author encourages honest critique.
Anonymous
26th Jul 2021 8:13am
--The Revolution Was Not Televised
The art we know as "melodrama" was traditionally a post-revolution artform. Whether this revolution was political (like the Terror in France or the Bolsheviks in Russia), or social (like the position of women in the US in the 1950s, whose place in the new social order was laid out and explored in the melodramas of Douglas Sirk), these were attempts to help the audience learn the cardinal directions on the new (post-revolutionary) moral compass.
This seems in the same vein--the exaggerations, the insipid stupidity of the heels, the hopeless corruption of society...
Here's the question: would anyone but those who have already bought into the revolution, that is, those who aren't in need of a didactic experience, be able to navigate the verbiage to figure it out?
Honest question. This reader isn't sure.
Yet it's a practical question I wrestle with myself: is the poem a fundamentally aesthetic object, and thereby morally decadent, or does it aspire to some fundamentally moral interaction with the world, and therefore, has some obligation to be understood on a plainer level?
Food for thought!
Enjoyed!
The art we know as "melodrama" was traditionally a post-revolution artform. Whether this revolution was political (like the Terror in France or the Bolsheviks in Russia), or social (like the position of women in the US in the 1950s, whose place in the new social order was laid out and explored in the melodramas of Douglas Sirk), these were attempts to help the audience learn the cardinal directions on the new (post-revolutionary) moral compass.
This seems in the same vein--the exaggerations, the insipid stupidity of the heels, the hopeless corruption of society...
Here's the question: would anyone but those who have already bought into the revolution, that is, those who aren't in need of a didactic experience, be able to navigate the verbiage to figure it out?
Honest question. This reader isn't sure.
Yet it's a practical question I wrestle with myself: is the poem a fundamentally aesthetic object, and thereby morally decadent, or does it aspire to some fundamentally moral interaction with the world, and therefore, has some obligation to be understood on a plainer level?
Food for thought!
Enjoyed!
26th Jul 2021 5:32pm
READ THE SIGNPOST BELOW, MARK...
(After you read this poetic response.)
She's a brazenly dressed-up in
dress-downedness whore of
honesty; fundamentally beauti-
ful in her blunt, earnest, synt-
hetic aesthetic of decay. And
she doesn't need you to real-
ize the she's the only one. She
just wants you to stare at her
while she melts the pole. Even
if it's just the moments you're
indisposed, self-loathed, with-
out strings attached and just
looking to come... undone.
😈💦
(After you read this poetic response.)
She's a brazenly dressed-up in
dress-downedness whore of
honesty; fundamentally beauti-
ful in her blunt, earnest, synt-
hetic aesthetic of decay. And
she doesn't need you to real-
ize the she's the only one. She
just wants you to stare at her
while she melts the pole. Even
if it's just the moments you're
indisposed, self-loathed, with-
out strings attached and just
looking to come... undone.
😈💦
This visual poem is an example of what I will coin: "Interactive 3D Irony" stylized as Ħi3i!.
In the video, the poem "CoCoin Inc." is displayed in segmented stanzas which are projected as flashes onto a freeway-exit billboard. The whole of the signpost signs at this overpass are graffitied in a graduated manner to first catch the attention of all drivers, then, to direct terminal attention of those drivers to the billboard at the far right with the projected message.
This message (the poem) is meant to be read by the drivers, therefore the flashed segments (stanzas) display for 20 seconds each, which is long enough for the Leh-person to read them. In consideration of the purpose of readability, the segments use mostly words that are comprehensible. However, each segment contains befuddling turn-phrases which are espoused to recognizable, yet somewhat complex words (think of a magicians two-hands, and/or the act of misdirection).
The turn-phrase / biggish-word combos are enough to make any Leh-person 'brain-spun. Also the text segments are so densely packed with words (for a freeway sign) that they require several seconds to read. All of these things combine malevolently to distract the driver long enough to cause a brain fart, which on a freeway, would likely result in a physical accident...
The 'piez de resistance' is that our beloved "Rat Fink" is driving his "piggy bank murderbike" the wrong direction into oncoming freeway traffic... so he's never going to see the billboard unless HE gets HIS head spun by a collision with the other drivers... who are currently ALL distracted and entranced by the billboard. The only way for drivers to avoid a collision with Rat Fink is to not be paying attention to the signs in the first place. (Good luck. We all know what people do when they see an accident!) 🤣
It's a whole smorgasbord of "just irony desserts", and of course the irony underpinning the banquet table of this feast is that the projected poem is a 'wake up call' which insults people who are "asleep at the wheel" down the road of life. There is also an extra floor of irony for those who still don't get the poem. All this, while being an anti-Trump poem, because, Trump is the Rat Fink. 😉
The lesson of this poem is to be discernable and reasonable about life. Prudence isn't not; it is knowing the who, what, when, where why, how, and then making economic decisions which carry you (and ultimately all of us together) to a more efficient destination of more efficient destinations.
In the video, the poem "CoCoin Inc." is displayed in segmented stanzas which are projected as flashes onto a freeway-exit billboard. The whole of the signpost signs at this overpass are graffitied in a graduated manner to first catch the attention of all drivers, then, to direct terminal attention of those drivers to the billboard at the far right with the projected message.
This message (the poem) is meant to be read by the drivers, therefore the flashed segments (stanzas) display for 20 seconds each, which is long enough for the Leh-person to read them. In consideration of the purpose of readability, the segments use mostly words that are comprehensible. However, each segment contains befuddling turn-phrases which are espoused to recognizable, yet somewhat complex words (think of a magicians two-hands, and/or the act of misdirection).
The turn-phrase / biggish-word combos are enough to make any Leh-person 'brain-spun. Also the text segments are so densely packed with words (for a freeway sign) that they require several seconds to read. All of these things combine malevolently to distract the driver long enough to cause a brain fart, which on a freeway, would likely result in a physical accident...
The 'piez de resistance' is that our beloved "Rat Fink" is driving his "piggy bank murderbike" the wrong direction into oncoming freeway traffic... so he's never going to see the billboard unless HE gets HIS head spun by a collision with the other drivers... who are currently ALL distracted and entranced by the billboard. The only way for drivers to avoid a collision with Rat Fink is to not be paying attention to the signs in the first place. (Good luck. We all know what people do when they see an accident!) 🤣
It's a whole smorgasbord of "just irony desserts", and of course the irony underpinning the banquet table of this feast is that the projected poem is a 'wake up call' which insults people who are "asleep at the wheel" down the road of life. There is also an extra floor of irony for those who still don't get the poem. All this, while being an anti-Trump poem, because, Trump is the Rat Fink. 😉
The lesson of this poem is to be discernable and reasonable about life. Prudence isn't not; it is knowing the who, what, when, where why, how, and then making economic decisions which carry you (and ultimately all of us together) to a more efficient destination of more efficient destinations.
29th Jul 2021 11:47am
13th May 2022 3:58pm
15th May 2022 3:58pm
