NORTH ADAMS, Mass. — Jenny Holzer has delivered a knockout one-two punch at the Massachusetts Museum of Contemporary Art. Titled “Projections,” her two-part exhibition starts with a spectacular light show of projected poems and follows with a politically incendiary installation of paintings related to the invasion of Iraq. Read more in the New York Times
“At the extreme limits of empiricism, meaning is totally plunged into noise, the space of communication is granular, dialogue is condemned to cacophony, the transmission of communication is chronic transformation. Thus, the empirical is strictly essential and accidental noise. . . Consequently, in order for dialogue to be possible one must close one's eyes and cover one's ears to the song and beauty of the sirens”. Michel Serres, Platonic Dialogue
Another prophetic texts, in this regard, is John Cage's "Experimental Music" (1957), reprinted in Silence (1962). As early as 1937, in "The Future of Music: Credo," Cage had declared:
And in Experimental Music, he expanded on this point in a now famous statement:
“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence we cannot. For certain engineering purposes it is desirable to have as silent a situation as possible. Such a room is called an anechoic chamber, its six walls made of special material, a room without echoes. I entered one at
Unless we go to extremes we won’t get anywhere
- John Cage
We say one thing is not another thing
Or sometimes we say it is
Or we say “they are the same.”
- Jasper Johns (Sketchbook Notes)
(T)here is something which is, so to speak, nothing;
and moreover, a nothing which has nothing in it.
That’s what the nothing in between is.
- John Cage (for the Birds)
I predict the era of video poetics is imminent-
Ezra Pound, 1952
quote...The Continental Review aims to be:
(1) A forum for video readings of new poetry (2) A forum for video reviews of new poetry
(3) A forum for video interviews on poetics.
It's early days, but the vision is to provide a haven for original video readings, coupled with a number of regular video-reviewers giving their opinions, in (re)embodied real-time, on recent books and issues relating to contemporary fiction, theory, poetry and poetics. The Continental Review thus aims to become the primary stop for video content related to contemporary poetics on the web.
Poetry hasn't missed or resisted the New Media boat, so why should poetry journals? The Continental Review is debuting from its Paris base with the help of a video editor, a webmaster, and a number of extraordinary poets. There will be no monthly or quarterly issues: the site will be continuously updated, on a rolling basis, with new video reviews, readings and interviews. This is an evolving project. Evolution needs your support...end of website quote
This is a great site and idea...possibilities for sounded language open up through digital media...Cole Swenson interview is good...the image is by me
muffled jaw called blood red molasses by me.
Writing started with a voice in my throat talking about the rub of purls, curly girl, again the face whilst sitting in its lap. It began to be felt whilst launching into the gap of writing about the shape of light inside the body, the shape and sound of it. Gathering the threads of testimony from 500AD to 1400. There were spills of opening happening whilst sitting very very still.
The first shape was closed it was the formal with argument it was just so long and it was either ok or it was not, and nobody could hear it. It did not lie still. It did not lie still. It did not lie still. The train was set to go out of the station. Jill, Jill, Jill wrote of the musculature and saw it, being written as not able to be fit-fitted.
A small piece was shaped on making…instead in stead.
‘six grappled steps in the making
ahhmm,…the making of a move is…
the making of something
“… she had tried… really tried for quite a while now too… to do it, but the animal would not go into the blasted thing. This time she was able to pause though, if only momentarily and acknowledge the ridiculousness of the situation - before she stuffed it down the front of her blouse. And she did feel she didn’t care, didn’t care a hoot if anyone saw, if anyone was looking,…which was something...” ‘
Reading John Cage For The Birds and Kristin Linklater, Freeing the Voice at the same time... one and then the other, opening my throat and listening to Bessie Smith cracking sound open... a man has just been crushed to death by an elephant in northern New South Wales. There are too many things to fit into words. writing starts from that place at the top of the throat...there are birds in trees.
Ana Maria at Ubu.com (USA)
Ana Maria at Iowa Review (USA)
Ana Maria at BeeHive (USA)
Ana Maria at Inflect (Australia)
An interview of Ana Maria by Jorge Luiz Antonio
A tribute to her work published on the -empyre-
list. Browse the month of March 2004 in the
-empyre- archives for other posts concerning
Ana Maria did all the translations
into Spanish of all the work at
David Daniels has done a visual
poem about Ana Maria at
Emptiness, as something present yet unpronounceable...
The ‘unsaid’ is a shifting boundary
resisting even itself.
Something, the half-sayable,
gone speechless. Or it can’t
what is, and
that it is,
...... an offhand
sound, a howe or swallowed
shallow. Sayable sign
of the un-.
(‘Draft 11: Schwa’)
The Unsaid as the inside of speech comes forward as the inarticulate sign of the messianic, of the effort of the poem to enunciate the impossible, ‘the very word’ itself, which is like a bell to toll, as DuPlessis, cleverly eliding the word ‘forlorn’ from Keats’s line, has it in her first epigraph. But what sort of toll is it?
In the remarkable ‘Draft 33: Deixis,’ DuPlessis takes up the problem of language’s ability to point toward a referent, to confer meaning at all by way of spatial tropes.
call this the matrix of the unallowable, or, perhaps indifferently, say
call this the problem of the dead
call it the toll
It is the space of poetry.
VIDEONALE 11 - Festival of Contemporary Video Art
Lia Anna Henning: Eat Me, 2006
Exhibition in the Kunstmuseum Bonn from 15 March to 15 April 2007. Red, erotic, carnal, halfway between glamour and cannibalism: this is how the mouth with its impeccable white teeth filling the screen of the monitor shows itself. This work by video artist Lia Anna Hennig is one of the 48 exhibits presented at the VIDEONALE in the Kunstmuseum Bonn.
Just got the shape of things back again after being in Melbourne for a week for the Manifesting Literary Feminisms: Drafts, Grafts, Nexus, and Faultlines Conference, where Rachel Blau DuPlessis and Susan Sheridan were the key note speakers. Rachel talked about "...Manifesting Literary Feminisms: Thinking into Future Work." Discussions circled round impossible pressures of the uni structures for academics trying to keep their research/creative life flowing, rich and together, lack of publishing opportunities for experimental work, and feminist critical theory...whats the shape of it, and what does feminist criticism mean now? Good questions.
Key note papers great Rachel wrote about key points to consider re the frame of feminist theory. Some wonderful papers too by Rachel Morley on Biography and Eleni Pavlides re Dialogue's of Dora... (possibilities of future collaborations have been discussed).
I left interested in starting a new lit-journal, online at first for distributing theory informed creative/xxperimental texts. If the poetic is to ever be read as theory we gotta get it out there to be read.
Anyway I'm looking into setting one up...more to follow. being at the edge of the academy gives me more room to explore this possibility , bit removed from the strains of that frame. For papers I gave look at essays in LABELS
A variety of new material is available from Glossolalia. It includes the
BALLET, new video and audio featuring CAConrad reading from Deviant Propulsion. BALLET is Glossolalia's first 100% pretty, 0% scary creation.
HEDGE MAZE, an audio track featuring the voices of Allyssa Wolf and Jon Leon. HEDGE MAZE originally appeared in Spaltung #2, a multimedia publication of the APG.
A video for SUDDEN SPIDER, featuring Rod Smith reading from The Spider Poems.
A video for ELLA FINDS HER VOICE, featuring Ella Vowell.
As always, Glossolalia is thankful to people who entrusted it with their voices.
As always, this material is available for no cost and little effort at
Lifting Belly is often considered the central erotic work of Gertrude Stein's middle period...this love poem, associative in structure, consists of alternately cryptic and conversational fragments detailing elements of sounded spaces from within a domestic sphere. The language is jouissant. But the language of jouissance in Stein’s Belly works as a vocabulary of ecstasy that is far beyond the stable and mere pleasure of the body or the text. This ‘unform of language’, functions as ecstasy through sounded sound...
essay (work in progress) click here
Language as stuff is pretty weird… it’s full of tropes, loops, gaps and double distenders (think garters). It makes up stories, does impromptu stand-ins and ‘performs’ for (other) objects… ha! a type of textural drive-by/asylum/squirm comedy when seen under the spotlight, it plies itself as culture in our bodies much like the ‘other’s other’ and goes marching on in the abstract, full of mis-meanings perversely masquerading as the true blue blue truth. Given that it lies along side it also lies, damn it, inside itself. Language, is busy displacing, disrupting and cutting off the depths and heights of how far a human and especially a woman can say or be said to go… show… say and perhaps, yes o dear… be. Its nothing personal its been said, but those limits are whoppers that stifle the Whopa’s of a gals oversized, abnormally normal, paroxysms of excitement and pleasurably pleasured ec-stas-y.
'The French feminists of the day discussed this Mother Tongue, calling it l'écriture feminine. Accessible to men and women alike, but representing "female sexual morphology," l'écriture feminine sought a way of writing which literally embodied the female, thereby fighting the "subordinating, linear style of classification or distinction." Showalter finds that whether this
clitoral, vulval, vaginal, or uterine; whether centered on semiotic pulsions, childbearing, or jouissance, the feminist theorization of female sexuality/textuality, and its funky audacity in violating patriarchal taboos by unveiling the Medusa, is an exhilarating challenge to phallic discourse.'
The French playwright Valere Vygotsky a maker of sounded words says ‘A word without meaning is an empty sound’
‘Nothing ever comes but from within...Objects have mouths to speak...They speak with their inner muscles’
They ventroquize themselves
Stein was Madam mouth
Her tongue propels her very erotic tongue to clit
Those who dominate make the body disappear Stein reinserts it wetly into literature.
‘Thoughts do not occur to us out of heaven but out of the teeth and mouth and the tongue...'
Letter to the Actors Valere Vygotsky, translated by Weiss
For Stein embodiment is 'to be' in relationship, in the space articulated by the curl, and this approach verses and “sounds” the silence echoing from the self as shell, as the noun, as a container. As shell, the body remains a fixed metaphor for self, a position Stein continually was in the state of undoing. Light on the body as diagrammed is a metaphor for “the other”. The body as shell sealed in linear space, except in instances of unusual eruption, is a body of darkness. Writing from the middle of that space in a vocabulary of thinking, Stein details brightness:
... and in the bright when they are there it is not only very much to do so which willing and they can it is more meant and if coming having it to do it is without it remarkably in no time which is very well shown yesterday as to be willing need it be whatever they can be without a doubt of whatever it is just made to be not only where they went it is as if not coming to be without that they could as wherever now and then called is more than…. (How to Write 335)
As open, the body as bright is situated nowhere. It is a body un-dark because it has no edge to it. It is between the inside and an outside. It does not begin in time or space, it is a continuum, and as such is unfixable. For Stein, the body is beyond visible and invisible. Unlike the eye that could not see itself, this new body as all bodies is covered in senses that include the sense of speech, “a speak” well beyond the frame.
Labels: things/nouns stein
just beautiful...odd...'she was long gone' sweet
Kristin Oppenheim (b. 1959)
Selected Works 1994-1997
1. Sail On Sailor, 1994 (2:23)
2. She Was Long Gone, 1995, (2:32)
3. Tap Your Shoes, 1996, (2:37)
4. Hey Joe, 1996, (2:16)
5. Tickle, 1997, (2:30)
6. A Woman Left Lonely, 1997, (2:33)
Labels: soundings xxamples others
I have to write out this quote by Roland Barthe
"In short, the words can be erotic on two opposing conditions, both excessive: if it is extravagantly repeated, or on the contrary, if it is unexpected, succulent in its newness (in certain texts, words glisten, they are distracting, incongruous apparitions...) " The Pleasure of the Text (42)
image by me
Just discovered Paul Alan's radio show wordsalad
full full full of juicy stuff...a great way to hear word sounded by its writers
“From Stein to Scalapino to Slam”
Wordsalad is a weekly radio program on WSUM featuring recordings of contemporary authors reading from their own works.
Imagine you’re a commuter in a station of the Metro, hearing bits and snatches of conversation as you pass by Modernist, experimental, performance poets, and Language writers.
Wordsalad streams live on Thursdays from 1 to 2 pm Central (American Time) at www.wsum.org and airs at 91.7 FM in Madison, Wisconsin.
Can our slow old broadband in Australia get it? ...
Not to worry, podcasts of past shows available here...
Thankyou Paul Alan
Just got hold of Holbrook's essay on Stein Lifting Bellies, Filling Petunias and Making Meanings through The trans-Poetic... lots of wonderful references to sound. though Muse
'Steins attention is to the aural...
steins work exemplified in the ballad...will get back to this busy writing that essay for the conference
People think poetry is lined verse or they love a good experiment.
You’ve read Good Egg Bad Seed by Susan Holbrook or you will.
You read this book like you’re taking a quiz in Chatelaine or you write a review of Good Egg Bad Seed emulating Holbrook’s book. Or both.
You want to talk to Holbrook about her Gertrude Stein references or you wonder if she’s read Carole Maso essays.
You prefer the poetry (“Smashing through the guardrail and plummeting to your deaths you shout I love you”) or the comedy (“or you shout Fuck.”) or you wish the reviewer wouldn’t split up a wicked quote.
Canada’s micropress publishing scene, with its limited print runs and handmade chapbooks, is news to you or you can’t wait to have this rare and coveted Holbrook by your bed because you saw her at Lexiconjury last year and she was brilliant, absolutely fucking brilliant, when she won the audience over with a reading of her as-yet unpublished chapbook.
You are Susan Holbrook and you’ve written a stellar chapbook called Good Egg Bad Seed with an either/or premise that there are two kinds of people and you’re one or the other (or maybe both) because as you, being Susan Holbrook, have allowed for a binary or a multiplicity with “You are a binary thinker or you are and you aren’t” or you’re not Susan Holbrook but you wish you’d had the idea first to write a poem about two kinds of people.
You will order Holbrook’s Good Egg Bad Seed from email@example.com or you will check out her publisher Nomados online.
" . . . so everything in the newspaper begins with its not being so and that like everything complicates and makes difficult telling and listening, it may complicate and the newspaper does by making it too easy, so much do they have to deceive the reader into feeling that yesterday is to-day that they have to make it too easy and in making it too easy they do do something they had not intended to do they make it no longer an exciting thing. . . . I said that once to a reporter and he said you have no idea I am sure how terribly hard we work. Yes I said but after you have done all that hard work you have to write it up as it would be if you had known it all beforehand. . . . There is no discovery there is mostly no discovery in a newspaper or in history, they find out things they never knew before but there is no discovery and finally if all this goes on long enough it is all too easy." Gertrude Stein, Narration
"In real life that is if you like in the newspapers which are not real life but real life with the reality left out, the reality being the inside and the newspapers being the outside and never is the outside inside and never is the inside outside except in the rare and peculiar cases when the outside breaks through to be inside because the outside is so part of some inside that even a description of the outside cannot completely relieve the outside of the inside." Gertrude Stein, Narration
"[T]hen there is the news itself, of course, dismaying in content and raising the question, over and over, of the efficacy (or inefficacy) of poetry in relation to the course of events; to read the news is to be reminded of the seeming imperviousness of the world to such improvements as might be suggested by artistic work and artistic thought. . . .When the term realism is applied to poetry, it is apt to upset our sense of reality. But it is exactly the strangeness that results from a description of the world given in the terms 'there it is,' 'there it is,' 'there it is' that restores realness to things in the world and separates things from ideology." Lyn Hejinian, "Strangeness"
"People have told me that my pieces shouldn't work because I do them so straight," she says. Acknowledging that the style of the IN is to do things tongue-in-cheek, she adds, 'I gut I'm patient with having to not take the risk of doing it straight. I don't like any art that doesn't make you put your feelings on the line. I'm devastated when doesn't work, but I'd rather have it that way"
Beckley's pieces have included "Tip Toe," in which she shared a pair of high heeled shoes with a couple of stereo speakers; "Showdown," "which probably came from having nightmares about being strangled by extension cords," and others which revolve in same way around ha relationship to musical sound. Her work on this record is a tendering of part of a scientific text of Isaac Newton, accompanied by her drawing of Newton along with part of the text.
"I was extremely happy about the fact that Newton was an alchemist, which meant that he had another life than what the scientific world would like us to believe, and that life allowed him to become a great scientist. His excitement, the way he wrote about things, appealed to music" -an attitude which Connie contrasts to her feelings about most current writing on art. And she points out that Newton committed more alchemical writings to paper than he did purely scientific texts.