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Empty Your Eyes and Bite the Star

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Empty Your Eyes and Bite the Star EMPTY YOUR EYES AND BITE THE STAR: FRAGMENTS, ENTROPY, CONFABULATION, AND STRUCTURE IN CUT- UP METHODS OLIVER S. SMITH A thesis submitted to The University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the School of Education & Humanities September 2019 Word count 88,000 Abstract Cut-up method has been notably applied as an avant-garde form. It originated as a piece of anti-art and its most famous practitioner, William Burroughs, used its fragmentary aesthetic to complement his transgressive subject matter. This thesis explores cut-up method’s relationship with Surrealist painting and its application as a means to the marvellous; the method’s ability to surprise both writers and readers. It addresses the central question: how can the Cut-up method be used to disassemble text and explore how the fragments can be constructed, reconstructed, or deliberately misconstructed to create a new text? I have adopted a cognitive approach to the analytical essays, which draw upon cross-disciplinary material including art history, literary criticism, cognitive science, information theory, computing, and the neuroscience of memory. The theoretical analysis and creative practice are integrated in both process and form. Discourses from the theoretical essays are mapped and remapped onto the creative practice and back again. Associated concepts such as fragments, entropy, confabulation, structure, and entrainment are examined both in the fiction and analysis. Empty your Eyes and Bite the Star identifies how, when viewed as a way of writing, cut-up operates from the bottom up rather than top down as in conventional models of practice; and explores the resulting differences in process and structure. It demonstrates the method’s usefulness as a means of generating original text but also shows how cognition imposes certain limitations on its effectiveness. It identifies areas that may be explored by practitioners to effectively target aleatory methods within new domains of creative practice and identifies how further research into the use of cut-up is possible using a quantitative analytical approach. i Author Declaration I declare that the work in this thesis was carried out in accordance with the regulations of the University of Gloucestershire and is original except where indicated by specific reference in the text. No part of the thesis has been submitted as part of any other academic award. The thesis has not been presented to any other education institution in the United Kingdom or overseas. Any views expressed in the thesis are those of the author and in no way represent those of the University. Signed …………………………………………….. Date ……………………………….29/09/2019 doi: 10.46289/MLUP7418 ii Dedications For my wife, Claire Smith, who persuaded me to start a research degree and has been a constant support and inspiration and who also helped with the proof reading. iii Acknowledgements Thanks to Dr Martin Randall of the University of Gloucestershire, my first supervisor, for his help and advice integrating the theory and practice and for directing me towards ever stranger and more fragmentary practitioners. Thanks to Dr Tyler Keevil of the University of Cardiff, my second (but formally first) supervisor for his help with developing the craft elements and for encouraging me towards ever tighter narrative and prose writing. Thanks to Dr D. P. Watt, Dan Ghetu, and S. T. Joshi for many years of support through their various publishing ventures. Thanks to Hugo Poyser and the Independence Trust for providing space and practitioners to explore aleatory methods in my Creative Writing workshops. Thanks also to the Creative Writing practitioners at the Independence Trust for embracing aleatory methods. Thanks to Paul Rosenbloom and Annie Brocklehurst, for bridging the gap between the end of my undergraduate degree (1990) and the start of a post-graduate research degree (2014). Thanks to Stuart Wilding, Xposed Club, and the Cheltenham Improvisers’ Orchestra who are a constant source of insight into aleatory methods, avant-garde practice, and the limits of musical cognition. iv Contents Abstract .......................................................................................................................... i Author Declaration ........................................................................................................ ii Dedications ................................................................................................................... iii Acknowledgements ...................................................................................................... iv Contents.......................................................................................................................... v 1. Introduction .......................................................................................................... 1 2.1 Frostiana ............................................................................................................... 8 2.2 Entropy and Language ....................................................................................... 33 3.1 Blood, Dark Rainbow Bliss............................................................................... 45 3.2 The True Image of God ...................................................................................... 67 4.1 The Dísir on the Langstrand ............................................................................. 79 4.2 Midway Between Music and Noise ................................................................ 132 5.1 The Architect of Putrefaction ........................................................................... 142 5.2 Pessimism and the Laws of Thermodynamics ................................................. 169 6.1 The Voice of Your Redeemer, the Songful Morning Near .............................. 179 6.2 The Shape of Cut-up ........................................................................................ 199 7.1 Dwell the Whole Bright Year with Me ............................................................ 211 v 7.2 Discourse and Fabula Time ............................................................................. 233 8.1 Eve Last ............................................................................................................ 249 8.2 The Complete Symphonies of Victor Frankenstein ......................................... 281 9. Conclusion........................................................................................................ 292 Appendices ................................................................................................................. 311 Appendix 1: Cut-up Using Dislocation in MS Word ............................................. 311 Appendix 2: Pseudo-Randomisation Using Sort Function in MS Word ............... 312 Appendix 3: Indexed Discourse Showing Chronological Order, and Characters Subjective Experience of Event Order. .............................................................................. 313 Appendix 4: Physical and Virtual Cut-up .............................................................. 329 Appendix 5: Practitioners Methods ........................................................................ 330 Appendix 6: A Taxonomy of Cut-Up .................................................................... 332 Appendix 7: Unifying the Collection ..................................................................... 336 Bibliography ............................................................................................................... 342 Supplementary Bibliography ..................................................................................... 350 vi 1. Introduction Empty your eyes and bite the star That I placed between your teeth1 Tristan Tzara William Burroughs wrote in The Third Mind: At a Surrealist rally in the 1920s Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued [and] wrecked the theatre. André Breton expelled Tristan Tzara from the movement and grounded the cutups on the Freudian couch.2 My idea is to empty your eyes, to stop reflecting the external world, reflect what’s inside: descend into the unconscious. I take a piece of free writing, psychic automism in André Breton’s terms, and fragment it, bite it, tear it up. Look for a something meaningful in the pieces. The more you do this the easier it is to find the hidden message. I came to cut-up through the Surrealists, through painting. Right from when I started I used the method of splashing paint onto canvas or paper and seeing what shapes I could see. Leonardo Da Vinci described something similar in his ‘Treatise on Painting’ where he writes ‘you should look at certain walls stained with damp, or at stones of uneven colour... you will be able to see in these the likeness of divine landscapes.’ 3 Da Vinci shows how representational images are suggested when looking at randomly generated marks. As my practice developed it took on a creative dialogue with various forms of psychoanalytic and psychological discourses. 1 Tristan Tzara and Mary Ann Caws, Approximate Man, and Other Writings. (Boston: Black Widow Press, 1973). p138 2 William S. Burroughs and Brion Gysin, The Third Mind (New York: Viking, 1978)' <http://ubu.com/historical/burroughs/index.html> [accessed 30/04/2015] p100 3 E.H Gombrich, Art And Illusion: A Study In The Psychology Of Pictorial Representation, (London: Phaidon,
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