SARAH BERNSTEIN

A poem, even within the most revered traditions of form, remains a site of grand permissiveness.

 

The heart of poetry resists grammatical fascism and and, and, and, and, as such, often denies the reader a singular interpretation of its text.

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Readers of poetry become translators, collaborators, and performers of information.

We place emphasis, annotation, and pause as directed but often as we individually see fit.

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We end up performing poetry to ourselves in the theater of our minds. And we do it the way we think it should be performed. 

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These intermedia works disrupt and dialogue with essential tenets of historical poetic form, translating poetic structure into a visual internal logic. They present the act of reading as a suggested score for mental movement within a sensory and memory-based experience of the poetic.