This paper aims to expose performance-centered characteristics of Charles Bernstein`s poetics caused by his emphasis on materiality of language that has been ‘unheard and invisible’ under the reign of semantics. He says, in poetry, two aspects of language, ‘sound’ and ‘look,’ have been ‘insufficiently acknowledged’ because ‘semantic projection’ has ‘colonized’ materiality of language: ‘sound’ by ‘speech’ and ‘letter’ by ‘writing.’ Semantics-centered language usage along with its supporting systems has ‘automatically translated’ materiality of language into semantic meanings: ‘sound’ into ‘speech’ and ‘letter’ into ‘writing.’ Language has been ‘used’ as an instrument for delivering ‘transparent’ meanings. But by paying close attention to material aspects of language, Charles Bernstein finds out ‘opaque’ materiality underneath ‘transparent’ semantics in language. He recovers priority of materiality of language through ‘dismantling’ centralization of semantics. He recognizes an oscillation or an unsynthesizable dialectic between opaque materiality and transparent ‘references.’ His formal inventions, ‘parataxis,’ ‘constellations’ and ‘collages’ are nothing less than prosodic methods which provide opportunities for ‘encounters’ of ‘incommensurable elements’ of language liberated from the semantic factory system which can manufacture only ‘speech’ and ‘writing.’ To make ‘sound’ and ‘look’ of language heard and visible, he places great emphasis on performance in poetry. He believes, performance will lead to an active production of materiality of language rather than a passive consumption of semantic products. Stresses on performance will demand a discussion of measure in which materiality of language shows up predominantly even in the traditional metrics. Against measure based on the syntactic flow, Bernstein proposes ‘countermeasure’ through ‘syntactic scissoring’ which cuts up the syntax and words, to introduce an interruption or a disruption into the flow of measure counted according to phrasal development. ‘[D]iscrepant engagement’ between measure and countermeasure intensifies rhythms of language. Activated bodily experiences of materiality of language in performance, like aural and visual faculties, allow for subsequent changes in ideas about space from Euclidean to Non-Euclidean in which sensuous experiences through ear and eye can be enacted more fully. Bernstein`s concentration on performance and measure shifts the focus of constituting power of language to material aspects of language because language constructs the world not only with semantics but also more importantly with materiality of language. That is why measure can be not just a meter but also a measurement with which language ‘forges’ the world.