The diagram series is a collection of poems by Jim Rosenberg made within the constraints of an object made of computer generated symbols. Most likely, the poems are to be read on a linear path from top to bottom. The poem I will be focusing on is diagram 4.2. Diagram 4.2 consists of a set of verses, traveling down three paths, on either side of the objects and down the middle. Due to the placement of these verses, particularly with stanzas being parallel to one another, it is difficult to know what order to read the poem. One strategy I’ve used is to pick a side and read straight through. In this strategy, the middle row stanzas will be read for either poem. Sadly, using this strategy, there is no apparent set rhythm or unified message.

At this point the art work takes the role of rhythm or at the very least direction. Based on Rosenberg’s object design, the shapes, and path of shapes, cause the viewer to want to read the poem in a traditional linear fashion. The code or pattern in this work is both transparent and opaque. We can understand how Rosenberg wants us to read the poem through the combining of an artful structure and text, but ultimately the poem is incomprehensible. Aesthetically, the work is confusing. More questions than answers are revealed.

In many ways this work reminded me of a postmodern short story I read titled, “In the Cemetery Where Al Jolsen is Buried” by Amy Hempel. Throughout this story are paragraph excerpts highlighting the life and death of a close friend through the eyes of a narrator. Like diagram 4.2, there is no pattern to these excerpts, they exist to create a mood, and create images for the reader. While maybe a bit more effective than diagram 4.2 in generating emotion, 4.2 does make images through a common theme of threat. Fragmentation of rhythm most likely is complemented by the object art in the piece. Most likely, the art piece around the poem is a holder to harness the message.

somethings there, I know it

This painting by Doumba, and exemplifies many of the same aesthetic qualities of Rosenburg and Hempel in a different artistic medium. Doumba's use of colors and just visible objects create a picture that doesn't try to evoke a scene or concrete message, but rather to convey a bleak, and maybe hopeless existence.