29.4.08
28.4.08
25.4.08
22.4.08
20.4.08
18.4.08
17.4.08
Louise Bourgeois à Beaubourg. Vernissage
bit of culture before the culture, this is louises retrospective, paris march 2008
gonna-try
I'm gonna-try to keep in touch with this blog space on a different level from now on, yes really! I've been using it to stash research, which I will keep using the space for but now, being well into my phd I also need to reflect a bit on whats in here... its like a big closet and I can't see that great pair of dancing shoes at the back, in the corner under the flannelets pjs...my mic is in a handbag somewhere,...I do find it very comforting though to click onto in the middle of stuffing up endnote again, and find old friends. be they Gertrude or my ubu web favs...I'm all set up in my new office now, big quiet and a laser printer, bliss! plus the babe of bliss my new apple com... it arrived yesterday full of GB'S and software you make me meeeeellllllt!...now I just got to get this literature review outa the way and stage 2, too, so I can play!!
I have the 'new-post-grad-fatigue' which is like a very mild case of jet lag that doesn't come in those awful sickening big waves like jet lag, but that constantly constantly shoves your soul against the bloody to do list.
Below is Tay Zonday, reminding us all, never give up...in the way only he knows how to do.
16.4.08
the sing song rhythm of poet speak...from weekend america public radio
Jeremy Richards & Krissy Clark
full quote of article found (thankyou) here
The BBC captured the voice of the great Irish bard William Butler Yeats in 1932. At the time, even those who loved Yeats' poetry would sometimes ask why he didn't take a more natural approach to reciting his poems. But Yeats was insistent: "I will not read them as if they were prose," he said.
As a result, Yeats sometimes took a drubbing from critics for his other-worldly reading style. Of course, this is something you have to hear for yourself, but I'll give you an idea. When Yeats read, each syllable of his work marched forth with a measured emphasis on the rhythm:
(you can hear Yeats recite on the site and christine bell)
‘And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings’. Yeats
To the untrained ear, all poets may sound the same, but poets have voiced a wide range of styles for centuries. Yeats exemplifies what we'll call the "sing-song" voice. Anecdotal theories trace it to influential European poets with accented English, and some think the voice took on new dimensions during the drug-induced stupors of the beatnik era. And then there's the jazz remix of the poet voice, popular in the spoken word world.
Laughing, poet and performer Christa Bell demonstrates the jazz poet voice:
"And then the moon SHINED ...
and it SHONE and SHONE and SHONE until ...
the sun came out, and then, boo BAH dah do DAHHH ..."
"That," says Christa Bell, "is what we make fun of in the spoken-word world."
"I would say it's from people copying people who are copying people,"
Rhythm is important to all poets. But if you dig around for old recordings, you'll notice how the jazz and blues poets replace Yeats' measured sing-song with flashes of syncopation. Christa Bell picks up there, but adds the sort of cadence she grew up hearing as the daughter of a Pentecostal minister:
'This poem's your whirling dervish,
a full moon offering to the goddess,
it's Martha and Mary weeping at the foot of the cross.
This poem's spoken in hieroglyphics, it's written in tongues, woman, if you don't come, don't nobody come...'
Yet while poets like Christa Bell are creating a new style, there's one aspect of the poet voice that still crops up with many performers: The upward inflection. Four-time National Poetry Slam Champion Taylor Mali skewers this and other performance cliches in a live recording:
"Ending every line going up?" (laughter)
Mali's been studying and mocking the way poets perform for almost 20 years.
"By turning declarative sentences into questions, they are in essence inviting the audience to answer these rhetorical questions with 'Yes, go on... Yes, go on,'" Mali says.
Poets in the slam community like Mali have done their best to lose the upward inflection. But Mali says in academic circles and at readings on college campuses, the inflection is still alive and well. In fact. it's almost taken for granted.
"I think if you asked what for lack of a better term I need to call "normal" poets -- regular poets, poets laureate -- if you were to ask somebody like Robert Pinsky why poets read the way they do, Robert Pinsky would probably say that he's merely trying to read in sort of a neutral tone," Mali says.
Actually, I spoke with Pinsky, and he makes fun of academic poets just like Mali does. "Do you mean when people read it a spaced... out... way?" he asked me. Pinsky, by the way, is the former U.S. Poet Laureate. And yeah, he's one of the first in line to mock the poet voice, in all its forms. "Or when it's bad ham acting and when people read in a... spaced... out... way!"
Robert Pinsky's known for being an advocate for making poetry more open to everyone. In 1997, Pinsky took the post of Poet Laureate and introduced the Favorite Poem Project. He invited everyday Americans to share their poetry picks, to showcase a wide range of voices -- from Hillary Clinton reciting Howard Nemerov to Jamaican-born photographer Seph Rodney invoking Sylvia Plath.
According to Robert Pinsky, this diversity, this natural expression of voice, is where a poem comes to life:
"I believe that it is a vocal art," Pinsky says. "It's true that poetry isn't speech. It's not song either. It's somewhere on a line between speech and song -- that it's a special kind of discourse, that it's speech plus something."
When Pinsky recites his own poetry, he keeps at least one criterion in mind: "I hope I don't bore audiences. You know, you don't wanna make this -- it's not school, it's not church, it's art. It's supposed to be a pleasure."
If you go to a poetry reading, you're bound to hear a few odd inflections. But the "poet voice" of yore is dying out, giving way to a more natural sound. So embrace the new poet voice the way you embrace the public radio voice -- that soothing consistency of a refrigerator hum, always there, constant and knowing. That public radio voice you know will always glide along, and then slow down -- just so, right as a story... is about to end.
The Mad Poet - Open Your Eyes (Spoken Word Poetry)
The Mad Poet is a spoken word artist from the Jane-Finch area. The Mad Poet uses this eclectic musical style to showcase her commentary about the social and racial realities growing up in Jane and Finch.
15.4.08
12.4.08
9.4.08
steins 'susie asado' by david braden
Susie Asado - David Braden from ubu web
quote"
"Susie Asado" was made using my (David Braden's) recorded voice, and collaged sounds. The sounds were transformed using Audio Mulch software and edited with CoolEdit2000. Compositionally I kept the order of Gertrude Stein's poem, but divided it into 8 sections. The piece ends with all the sections mixed together simultaneously. In creating "Susie Asado" I let the text inform the editing choices. In the second section, for instance, the phrases "a lean on" "the shoe" "this means" "slipslips" and "hers" were made into separate sound files and assigned different beats and rhythms using a drum machine. The looped phrases literally slipping over each other reveal a hidden wordplay: "slip slips" and "hers" combine to "slippers." For the fifth section with a "pot" and "bobbles" and its plosive alliteration I added the sound of bubbles being blown with a straw into a metal pot. In the last section, I multiplied the voice so that the line is read in choral unison. I live in Oakland with my family and teach elementary school. I made my first two sound poems almost 20 years ago in a college electronic music course. In 2001 I took an on-line course in experimental writing with Alan Sondheim, and began creating "wordsound compositions." My work has or is scheduled to appear in various on-line and CD magazines: Bath House, Muse-Apprentice Guild, mmzzz, and Sprechen. A full length CD "summermiragemotel" will be released by softpalate (www.softpalate.org). My written poetry has appeared in: Shampoo, Poethia: writing on-line, Moria, Aught, Sidreality, Word For Word, Vert, and Muse-Apprentice Guild"
3.4.08
Ginger even, Speaking In Tongues Example 1933
Speaking in tongues example. Rare footage from the 1933 Busby Berkeley film "Gold Diggers of 1933" staring Dick Powell and of course gingers tongue.
2.4.08
Christof Mignon- Phonic Gaps and Gasps review by Allen S Weiss
reviewing Christof Migone...
http://www.christofmigone.com/html/main.html
“Skull partitas, glottal toccatas, ear arias, bone blues,
heart sonatas, nerve operas, blood symphonies – the
audio inventions of Christof Migone evoke the disrupted
and degenerate inner voice that so disquietingly haunts
our thought and our speech. Through the piercing and
obsessive acoustics of Hole in the Head, the possibilities
of audio montage permit vocal organisms and electronic
circuits to intersect, reflect and infect each other. These
works therefore exist in a highly charged state of
paradox and contradiction: they are impish and lyrical,
nightmarish and enlightening, abrasive and soothing.
Here, creativity occurs at that threshold where language
disintegrates and electronics peaks outs; where codes
are transgressed and nonsense elaborated; where
sonorous distortions, interferences and noises establish
a delirious, crazed, schizophonic art. The analysis of
such works demands a teratology of the voice, whose
monsters arise by means of liberating all those vocal
“accidents” that hitherto blemished the pure sounds of
bel canto and belles lettres: moans, screams, sighs,
cries, chokes, roars, gasps, mumbles, whistles, yelps,
slurps, groans, chortles, snorts, pops, clicks, wheezes,
babbles, hisses, hums, whimpers, hoots, whines, puffs,
drones, stutters, lisps, rattles, and countless other
imperfections.
As Roman Jakobson suggests in his celebrated
psycholinguistic studies on the relations between
aphasia and linguistic structure, the pathological
breakdown of quotidian speech – culminating in either
the incoherent jumble of word salad, the inarticulate simplicity
of one-word sentences, or the utter silence of aphasia universalis
– proffers new modes of poetic form." Weiss
http://www.christofmigone.com/html/main.html
“Skull partitas, glottal toccatas, ear arias, bone blues,
heart sonatas, nerve operas, blood symphonies – the
audio inventions of Christof Migone evoke the disrupted
and degenerate inner voice that so disquietingly haunts
our thought and our speech. Through the piercing and
obsessive acoustics of Hole in the Head, the possibilities
of audio montage permit vocal organisms and electronic
circuits to intersect, reflect and infect each other. These
works therefore exist in a highly charged state of
paradox and contradiction: they are impish and lyrical,
nightmarish and enlightening, abrasive and soothing.
Here, creativity occurs at that threshold where language
disintegrates and electronics peaks outs; where codes
are transgressed and nonsense elaborated; where
sonorous distortions, interferences and noises establish
a delirious, crazed, schizophonic art. The analysis of
such works demands a teratology of the voice, whose
monsters arise by means of liberating all those vocal
“accidents” that hitherto blemished the pure sounds of
bel canto and belles lettres: moans, screams, sighs,
cries, chokes, roars, gasps, mumbles, whistles, yelps,
slurps, groans, chortles, snorts, pops, clicks, wheezes,
babbles, hisses, hums, whimpers, hoots, whines, puffs,
drones, stutters, lisps, rattles, and countless other
imperfections.
As Roman Jakobson suggests in his celebrated
psycholinguistic studies on the relations between
aphasia and linguistic structure, the pathological
breakdown of quotidian speech – culminating in either
the incoherent jumble of word salad, the inarticulate simplicity
of one-word sentences, or the utter silence of aphasia universalis
– proffers new modes of poetic form." Weiss
ZSWOUND MANIA
quote from their intro page... yummy eta stuffalotmithinkif
"INTRODUCTION
ZSWOUND is a MIXILINGUAL experiment which proposes 4 entries:==> 1) the blog itself, Zswound-Main, which focuses on a wide range of practises including multilingual writing, interacting / blending / aggregating languages, "dysfunctional" or diverted translation, pop translation, stolen languages, zaoum, automatically generated texts and mentalingual confusion, etc... Ultimately, this will probably become what I called a MELTLING SPOT. Zswound-Main is a work in progress which will remain online until APRIL 2008 (after that period the editors will decide whether it should be closed or expanded).==> 2) the "magazine", Zswound-Mag, which lists all contributors, and also provides a selection of links to zswounderful works and articles. NB: Zswound Mag is this page.==> 3) the collaborative area, Zswound-Mania which is based on a concept inspired by BP Nichols' Translating Translating Apollinaire: get one text (stimulus) and find as many alterations as we can.==> 4) the big world also known as Nuzzled Sentence which is the expanded and Joycean version of the above Zswound-Mania. Nuzzled Sentence is a telepathic co-invention which welcomes multilingui(ni)istic, multidisc(rec)ip(rocating)-(non)lin(e)ar(y)experiment(s), collaboration(s), me(n)talinguistic gymnastics, based on artistic katalysts from finnegans wake.
ZSWOUND, as the name suggests, will not remain on the page but is meant to be expressed and performed. This will be done in a number of places. Hopefully, recordings will be made and added to the site.
and an delisho example...
ZSWOUND MANIA: "Z72 - Erringly & forestalling (Z26 + MEaning Eater)
la waldron décollectivelyée boxiemo la déférented,
soundness sessions councilmen exposure ellsworth élucian dixieland combine ;
au pastry de l’iau le lécheek réalignments
un full straitenen Armenian cognitive il stranglings
sesame poisson acéréesqu’il réserf auxiliaries institutionally en charleston
la râpe servers à démemo sanguine anemoneésiena,
averaged un souring de prosecutes;
il faust serbian la viably en vérituallyé, maimed passivate availabilityée:
la portfolios, la moisture, sanchez pitifulé,
le silversmith failed bloch,touching abstainé dances la frénésie
gfried designators counterpoint francis de sa view godmother.
la familism ne garaged passageway la fractionîchewers de la via
misunderstanders en scène,
maims expletive, façon gibbons, de père en filament, lessen [….]
et lesbian déchins du désirup
(nourishes au flosses, le devastate pounds à l’offended);
le socialized s’assassins à l’édullesé; possess restricts
(o lucas, la dévoting anemometerésiée tiresomely plummet vitally questioner songs enmte)
’abstracted descriptor cousins se failings parlay incense et
décleanser destabilize poses épisces quixote rééquinn
desolately glows irreducible éprecipice.
Posted by Zstwalker "
luvelyrichnes herup ya goodbenverrry
1.4.08
Tatsumi Hijikata / Butoh / A Girl/part 1
Originator of Butoh, Tatsumi Hijikata
A Girl 1973
This peice is almost the last butoh performance by Hijikata, showing his weakened body butoh.
After Hijikata nobody could perform weakened body butoh for thirty years.
You can learn weakened body method at Subbody Butoh School Himalaya.
more info; www.subbody.net
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