Poiesis brings together archaeological finds, ancient texts and inscriptions, recent scholarly analysis, and the expertise of modern craftsmen to investigate every known facet of Athens' manufacturing activities. Despite the fact that Athenians consumed great quantities of manufactured goods, and around half of the residents of classical Athens can be shown to have been dependent for survival on manufacturing in some form, the subject has been almost completely neglected by historians. The book draws on the analytical techniques of contemporary business economics--supply and demand, competition theory, and risk-return analysis--to explain events and choices. Manufacturing operations are classified in an original framework that explains why certain segments were suited to the sole craftsman and others to teams of slaves, and deduces earnings potential based upon barriers to entry and competitive differentiation. The result is a new and refreshing angle on how Athenian society operated that complements political, military, and literary perspectives, with important and often surprising implications. Among other insights the analysis shows how fragmented industry structures were fundamental to the workings of Athenian democracy by enabling citizens to supplement their income through casual manufacturing activity.

a collection of experimental poetry inspired from lived experiences. This work covers poems written from 2000 to 2013 from the author's life in Perth Western Australia. The topics of the poems include: love, loss, morality, age, childhood, writing, and life in suburbia.

Ecocriticism and the Poiesis of Form: Holding on to Proteus demonstrates how a fractal imagination helps one hold the form of a poem within the reaches of Deep Time, and it explores the kinship between the hazy, liminal moment when Sound becomes Syllable and the hazy, liminal moment when the sage energy of the Atom made a leap toward the gaze of the first cell, to echo Merwin. Moe distills his methodology as follows: "My work?—I point," asserted the aphorism. "That’s what I do." To point, the project integrates a wide range of interdisciplinary ideas—including biosemiotics, fractals, phi, trauma theory, the Mandelbrot Set, hyperobjects, meditative chants, Goethe’s morphology, Ramanujan’s summation, a spiderweb’s sonic properties, and Thoreau’s sense of the plant-like burgeoning force of an Atom—in order to open up multiple trajectories. In this context, the volume foregrounds the insights of poets/storytellers including Hillman, Snyder, Anzaldúa, EEC, okpik, Whitman, Dickinson, Gladding, Melville, Morrison, and Toomer, for they are most attentive to that liminal moment when the vibratory hum in language, and in the cosmos, turns kinetic. As this volume draws on a wide range of writers from many backgrounds, it allows the myriad voices to engage with one another across differences in race, gender, and ethnicity. These writers show us how, to echo Dickinson, the "Freight / Of a delivered Syllable - " can split and how the energy unleashed came from, and points us back toward, the energy (un)making the forms of Gaia. The starting point for discussing the energy of a poem can no longer begin with the human; rather, Holding on explores how the poem’s energy is but a sliver of a hyperobject "massively distributed" throughout the cosmos—a sage energy that brings forth form.

Poetic making from Cervantes and Gongora to Descartes and Locke

A groundbreaking conception of interactive media, inspired by continuity, field, and process, with fresh implications for art, computer science, and philosophy of technology. In this challenging but exhilarating work, Sha Xin Wei argues for an approach to materiality inspired by continuous mathematics and process philosophy. Investigating the implications of such an approach to media and matter in the concrete setting of installation- or event-based art and technology, Sha maps a genealogy of topological media—that is, of an articulation of continuous matter that relinquishes a priori objects, subjects, and egos and yet constitutes value and novelty. Doing so, he explores the ethico-aesthetic consequences of topologically creating performative events and computational media. Sha's interdisciplinary investigation is informed by thinkers ranging from Heraclitus to Alfred North Whitehead to Gilbert Simondon to Alain Badiou to Donna Haraway to Gilles Deleuze and Félix Guattari. Sha traces the critical turn from representation to performance, citing a series of installation-events envisioned and built over the past decade. His analysis offers a fresh way to conceive and articulate interactive materials of new media, one inspired by continuity, field, and philosophy of process. Sha explores the implications of this for philosophy and social studies of technology and science relevant to the creation of research and art. Weaving together philosophy, aesthetics, critical theory, mathematics, and media studies, he shows how thinking about the world in terms of continuity and process can be informed by computational technologies, and what such thinking implies for emerging art and technology.

The volume addresses a distinct field in the anthropology of culture, namely that of creativity. It defines the cultural field of poiesis, which includes not only the poetic creation, but also the scientific and philosophical one, and, above all, insists on the connection of creativity with the metaphysical spirituality, the mythological imaginary, and the sacred realm. Creation is primarily personal—this phenomenon is obvious both in the field of art and of theory. This book considers that it is necessary to emphasize, from the perspective of cultural anthropology, the importance and significance of the creative act that binds all fields of culture. To this end, it gives new meanings to the relationship between the symbolic and abstract in the field of cultural creation, a relationship considered from the perspective of three concepts—beauty, harmony and dynamic asymmetry—as well as the relationship between creative intuition and constructive reason. The book adopts a historical-comparative approach, from the perspective of the dialectic of the creative act, the becoming and synthesis of some opposite elements, coordinated by the abstract-creative principle: dynamis and symetros, rational and symbolic, immanent and transcendent. It shows that the meaning of experience as a creative synthesis is primordial and fundamental to human existence. The book is addressed both to specialists in the field of philosophy of art or cultural anthropology, and to the general reader who wants to approach the original meaning of spiritual creation, poiesis, which is the unification of all possible experiences, both feelings and knowledge.

An essay on the deictics of apperception and the context of emerging social perception

...This third volume of verses in the Genetics Book series, Zeus Sapientic and the present Poiesis Being, attempts a poetical quantification between a possible proto-poetry and why not, a post-poetry that would generate in the lights of digital virtues of Presence, another resonance field of classical poetry, born about 5000 years ago from Egyptian or Chinese scribes ... This Poiesis Being is being redistributed to the poetic vector of every lyric poet and inspirer, dreaming of the unmistakable sparkle spells in rhyme versus white verses, attempts to reorbitate cosmopoetics and astrophetics, between planetary and solar, to restrain light by the very speed they of absoluteness in a universe of relativity, all reflected and summed up by the very being of extreme subjectivity that is the poet, inspiring, laborious, and envious... Poetopoiesis

Martin argues that literary studies remain mired in the anomalies of a linguistic methodology derived from early 20th-century language philosophy, a view challenged not only by theoretical physics, but also by compelling advances in philosophic semantics.

Attacks the critical practice of interpreting ancient Greek literature in terms of modern ideas, using the works of Aeschylus, Sophocles, Pindar, Plato, Thucydides and Shakespeare as examples.