Believe nothing, no matter where you read it, or who said it, no matter if I have said it, unless it agrees with your own reason and your own common sense.
Common sense is not so common.
3. Leonardo da Vinci
Common Sense is that which judges the things given to it by other senses.
4. Josh Billings
Common sense is the knack of seeing things as they are, and doing things as they ought to be done.
5. Henry Ward Beecher
The philosophy of one century is the common sense of the next.
6. Ralph Waldo Emerson
Common sense is genius dressed in its working clothes.
A handful of common sense is worth a bushel of learning
Common sense is what tells us the Earth is flat and the Sun goes around it.
9. Unknown Source
The biggest shortage of all is the shortage of common sense.
10. Robert G. Ingersoll
It is a thousand times better to have common sense without education than to have education without common sense.
11. William Somerset Maugham
Common sense and good nature will do a lot to make the pilgrimage of life not too difficult
12. Gertrude Stein
Everybody gets so much information all day long that they lose their common sense.
13. Will Rogers
Common sense ain’t common.
14. Ralph Waldo Emerson
Common sense is as rare as genius, – is the basis of genius
15. Matthew Arnold
The freethinking of one age is the common sense of the next.
16. Victor Hugo
Common sense is in spite of, not as the result of education.
17. Rene Descartes
Nothing is more fairly distributed than common sense: no one thinks he needs more of it than he already has
18. Yiddish Proverb
Seek advice but use your own common sense
quote from article .... "Meredith Monk shrewdly noted in her diary, January 1970: 'Most people only think of the containers, the names, the certain times, the repeatability, the objecthood. In theater process, mixture - category-lessness - is not understood. Sometimes inconsistency is actually consistency.' With her tone inflected both by frustration and ambition, Monk concludes, 'It is the conscious effort at inconsistency which is consistency.'"
Beautiful....from afterall/online journal article Meredith Monk: Perception as Content by Isla Leaver-Yap.. great article published in April this year
Essay: Anne Carson’s ‘The Gender of Sound’
dated March 29, 2010 ·
quote "It is in large part according to the sounds people make that we judge them sane or insane, male or female, good, evil, trustworthy, depressive, marriageable, moribund, likely or unlikely to make war on us, little better than animals, inspired by God. These judgments happen fast and can be brutal. Aristotle tells us that the highpitched voice of the female is one evidence of her evil disposition, for creatures who are brave or just (like lions, bulls, roosters and the human male) have large deep voices. If you hear a man talking in a gentle or highpitched voice you know he is a kinaidos (“calamite”). The poet Aristophanes puts a comic turn on this cliché in his Ekklesiazousai: as the women of Athens are about to infiltrate the Athenian assembly and take over political process, the feminist leader Praxagora reassures her fellow female activists that they have precisely the right kind of voices for this task. Because, as she says, “You know that among the young men the ones who turn out to be terrific talkers are the ones who get fucked a lot” (1 13-1 14).Anne Carson’s convincing and well-researched essay lists a history of the gendered voice, from Sophocles to Gertrude Stein. Here she outlines what is at stake in our assumptions of sound, questioning whether the concept of ‘self-control’ is a barrier to acknowledging other forms of human order. An illuminating text in relation to areas of Meredith Monk’s use and development of ‘extended vocal technique’, Carson’s perspective is invaluable to wider debates on social order, both past and present.
Voice in Language has some good essays on their site, Barthe, an interview with Meridith Monk, Sontag etc
- Essay: Anne Carson's 'The Gender of Sound'
- Video: The hocket
- Essay: James Richards' 'Call and Bluff'
- Essay: Roland Barthes' 'The Grain of the Voice'
- Essay: Susan Sontag's 'Against Interpretation'
- Text: Meredith Monk interviewed by Isla Leaver-Yap
- Sound: Georges Aperghis' 'Récitations'
These sentences, with their artful confusion of factual and metaphorical levels, carry with them as it seems to me a whiff of pure fear. It is a fear that projects Gertrude Stein across the boundary of woman and human and animal kind into monstrosity. The simile ‘she had a laugh like a beefsteak’ which identifies Gertrude Stein with cattle is followed at once by the statement ‘she loved beef’ indicating that Gertrude Stein ate cattle. Creatures who eat their own kind are regularly called cannibals and regarded as abnormal. Gertrude Stein’s other abnormal attributes, notably her large physical size and lesbianism, were emphasized persistently by critics, biographers and journalists who did not know what to make of her prose. The marginalization of her personality was a way to deflect her writing from literary centrality. If she is fat, funny-looking and sexually deviant she must be a marginal talent, is the assumption.”
New work from Stacie Leatherman.
We’re revised as we speak.
Kitsch, of course. Kites and high-flying plutocracies.
The body’s lace its organs the child beating within.
It lifts like a sunburn and I am borne into it.
The finesse of loving, as if relationships could be held in tow.
The long sidewalks to hell and back,
straight and smooth as a syringe.
And where someone or the self pulls us off,
a light wave, a frequency.
The process of something we once knew.
Your lowing cattling us through the night.
You find the trails strong as any writing.
the bad luck fruition,
the clustering, the badlands,
ribbon fish, you glide through like a transition,
your body sliced more than half your length,
a cut thread, swimming.
The dead over under us, at eye level.
I refuse to discuss in separations. I am not my own language utterly.
Doors and wounds, disappearances, returns.
Reliance on hands, mind, teeth.
The drifting backwards into disrepair,
the unclotting, the swift dislocation.
The swifter we go.
Drift of continents and islands.
Words threshed, chaff from grain.
Words catching in the backdraft.
If a collision, or elision, or what has clapped silently above me.
The knots tying it together.
Spring flowers dusting ditches and roads,
cottonwood blowing like the sifted alphabet,
the approach of solstice.
Light as the waiting and receiving.
The kissing words backwards until they have breath.
Until a flock breaking upwards in flight,
the sky breathing, insistence of motion and intent and wandering.
Seeds scattering, a spume,
an umbrella of sparks.
The signing of the entire body,
the circular motions.
Your body’s lamplight.
The last time is not the last time.
There is the painful retaliation.
The splitting of,
the close shave.
Lightning a savage crop,
fierce as your broken heart.
Inchworm inching across my arm,
the crashing and impetuosity.
Slouch erected straight as a wave curling over,
the origami of moments,
beach gored with light.
The unknown more intimate,
under the finger in the lung.
Stacie Leatherman’s first collection of poems, Stranger Air, will be published by Mayapple Press in early 2011. Work is forthcoming or has recently appeared in New American Writing, Indiana Review, Barrow Street, Diagram, and Crazyhorse, among others. She has an MFA in Poetry from the Vermont College of Fine Arts.
This is a brilliant wild, fantastical sounded-language sound piece.
Beyond any narrative, beyond all representation
by NeGa | Published: June 29, 2010
Labels: sound radio
Three years in the making! But it shall soon arrive! I am talking about THE CHAINED HAY(NA)KU PROJECT anthology that will be released by Meritage Press and its trusted Finnish co-publisher, Jukka-Pekka Kervinen's xPress(ed)! Here is the gorgeous front cover designed by award-winning artist Mimi Nolledo:
A Book Description:
The hay(na)ku's swift popularity would not have been possible without internet-based communication. With the internet's capacity for engendering collaborations, it was inevitable that a collaborative hay(na)ku project such as THE CHAINED HAY(NA)KU would arise. It, of course, was fitting that THE CHAINED HAY(NA)KU anthology began with an invitation from a blog. On June 24, 2007, an invitation was posted on http://chainedhaynaku.wordpress.com/ for poets to participate in hay(na)ku collaborations. Nearly a hundred poets and artists from around the world responded, and this anthology is one result, along with friendships and much fun! Forthcoming in Summer 2010 from Meritage Press and xPressed and available soon from Amazon, Lulu.com, direct from Meritage Press, among other outlets.
Curated by Ivy Alvarez, John Bloomberg-Rissman, Ernesto Priego and Eileen R. Tabios. Participants besides the curators: Ira Franco, Denise Duhamel, Ariana Mason, Maya Mason, Thomas Fink, Burt Kimmelman, Molly Diablo Mason, Sandy McIntosh, Joseph D. Haske, La Erika Garza-Johnson, Sam Arizpe, Rodney Gomez, Emmy Pérez, Airlie Rose, Jukka-Pekka Kervinen, John M. Bennett, Jim Leftwich, Horacio Castillo, Holly Anderson, Caroline Beasley-Baker, Lisa B. Burns, Amy Bernier, Majena Mafe, Natasha Narain, Mela Fitzgibbon, Jeff Harrison, Allen Bramhall, Anny Ballardini, Sam Bloomberg-Rissman, May Garsson, Adele Mendelson, Edna Cabcabin Moran, Hannah Newman, Ellie Haworth, Kate Studd, Lucy Morris, Holly Anderson, Caroline Beasley-Baker, Lisa B. Burns, Peg Duthie, Donna Carter, Neal Jettpace, Jean Vengua, Michael Fink, Margo Ponce, Lola Bola, Kristi Castro, Anne Froyen Mowery, Kaja Mowery, Jean Gier, Tom Novack, Candida Kutz, Jeff Hansman, Joselyn Ignacio, Kate Coulter, Liza Li, Mary Vezilich, Mike McGuire, Mardi May, Sally Clarke, Amanda Jackson, Paula Jones, Janet Jackson, Ginger Stickney, Liz Breslin, Kunal Dutta, Tom Lewis, mIEKAL aND, Audacia Dangereyes, Sheila Murphy, Maria Damon, Dirk Vekemans, Jim Piat, Halvard Johnson, William Bain, steve d dalachinsky, Gregory Severance, MD, Larissa Shmailo, Bob Marcacci, John M. Bennett, Patricia Carragon, Om Mani Padme Hum, hands proje, and Thomas Savage.