On the Metaphor of Airport in the Early Outsider Work of Ariel Riveros Pavez aka Autopirate
(a non-self promoting or aggrandizing autocritique in the manner of Seamus Heaney, in that only the author can explain his misdirected condensated thoughts)
I'd prefer if this written poetical work were a scathing critique of the lazy success of John Kinsella, who is actually at least worth writing about if I had a personal issue of him stealing my girlfriend or whatever.
The airport is a site which is at once cosmopolitan, bland, indicative of freedom and escape!, surveillance and regulation, and Virgin company ads that similarly encompass this spectrum as they are an airline, a mobile telecommunication company, and vehicle for the literary pursuits of its head Richard Branson as business philosopher.
The airport is public, private and internationalised space as there are varying types of no man's land like customs, the diplomatic exchange and the Qantas Lounge.
Some like drinking at the bar, clinking gin and tonics with aeroplanes lifting off and arriving. There is still a buzz of modularity about the place. I think Richard Branson-influenced spaces are like that too, without entering too near the earth's outer atmosphere.
He, much like Frank O'Hara and Wallace Stevens, is both writer and patron, poet and rich/influential guy in one. This makes things easier as we can guess where the adulation belongs.
The airport, its club carpet, compartmentalised and very swish, and replicating itself as such in the surrounding motifs is a little Mandelbrot set-like. This almost cellular model, alluding to autopoiesis, was the intellectual frame and engine to the fleet of my early work. I should know and it's not beyond agreement even in timetabled charts of relativism indicating the 2:30pm flight to LAX is now boarding.
