Q L S

Theoretischer Essay zur Erläuterung der 2.quantenlyrischen Methode: SACHE & SINN

Die korrekte Darstellung der authentischen Animation eines QLS-Beispiels ist in einer Textdatei (bzw. den dadurch generierten Screenshots, wie z.B. bei der für das 7.QLS verwendeten Slide-Show) technisch nur annähernd mit manuellen Ergänzungen von Leerstellen zu erfüllen, da die üblichen Textprogramme die durch Buchstaben-Eliminierung entstandene Masse an Leerstellen zu den Zeilenrändern hin nicht erfassen, wodurch der RANDLOSE RAUM als fast leeres Endergebnis eines QLS-Teppichs (durch die tatsächlich entfallenen Buchstabenpositionen) nicht angezeigt wird. Stattdessen entstehen Akkumulationen von Restbuchstaben an den Rändern, die einen nichtexistenten Rahmen des leeren Feldes vortäuschen! Der "offene Raum" mit seinen unzähligen Leerstellen als "dunkle Materie" der Quantenlyrik ist aber entscheidend für das finale optische Werk.

The EQ ("Real Quantum Poetry / Echte Quantenlyrik") has been completing my vision of an "elegant solution" of concrete poetry as "absolutely concrete / absolut konkretistisch" lyric poetry since January 11, 2001, since the term "concrete" (as 100% non-representational) has so far been misunderstood and not fulfilled by delivering interpretable (=abstract) language games instead of real non-objectivity (both by Dadaists and by representatives of the 50s/60s). Kandinsky & Malewitsch already had the absolute in mind as the goal of the concrete, but the art journalists twisted the terms and falsely invented the genre of "abstract" painting, which is exactly the opposite of what the two painters seeked for: the absolute is not abstract (in the sense of the symbolic reference of the sign to a transcendent content) but 100% concrete – pure end in itself of the sound or sound image, as can be found in every general word with the QUANTI-SYLLABLES /QUANTISILBEN !

Especially the "QLS" (Quantum Lyric Secondary Experiments) are intended for the animation of the individual parts as a letter field/space so that the reader experiences the disappearance of the letter groups and thereby the emergence of the "energetic emptiness". The difficult part of the technical implementation so far has been to program the GAPS between the letters correctly, as the number of spaces corresponds exactly to the letters that are omitted. If a program ignores/eliminates the gaps instead, there is no tangible "empty" space with the carpet of 1 letter type, just a clunky pile of letters, which is pretty much the opposite of what it is about!

(english translation by Sylvia Egger © perspektive 2020 for my QANTENSARS presentation @ A.VANTGARDE B.OOT C.AMP)