like kay rosen...

for more click here

new work.... red mars libetto for laurel

to seeee and hear  click here

bit more about Josipovici on Book News

here

Over at Immedia mention is made of the word Radicant- our new modernism will grow roots

in the article Radicality in Art Today...

quote... 'The French art theorist and curator Nicolas Bourriaud was there to debate this question (is radicality in art possible today)  together with the Dutch artist Jeanne van Heeswijk and the Danish academic Michael Bolt, who has been an outspoken sceptic of Bourriaud’s concept of relational aesthetics. Bourriaud’s perspective was that radicality is not possible today because it is impossible to back to the kind of environment of 20^th century modernism in which the avant-garde movement could be radical. Bourriaud pointed out that if taking the etymolog of the radical seriously, understood as roots, or going to the origins, radicality today is not possible.


According to Bourriaud we have to give up two attitudes in order to move on. On the one hand we have to give up the attitude of nostalgia of modernism and get rid of the metal trap of post-modernism, or post-everything. The whole post prefix of the last 30 years, resulting in terms such as post structuralism, post colonial, post feminism, post humanism etc., has given us the impression that we are too late, that there really is nothing to be done but to look back and analyse how to handle the effects of the events upon which everything in the present grew out of. Bourriaud proposes instead the concept of the radicant, understood as an organism that grows its roots on the ground, a term better fit for describing where we should go with art from here. Whereas 20^th century modernism was radical, our modernism will be radicant, growing roots while it evolves or grows.

The central goal for the art field then, is to break loose from postmodernism and the extreme preoccupation with identity, that in Bourriaud’s account acts as a “war machine”. Identity, according to Bourriaud, is an ideological virus that the political field has been structured around, reducing everything to the question: “Where do you come from?”

To answer this question, it was necessary to show that modernism was not a "movement", like mannerism, or the name of a period. Like Romanticism, it is multifaceted and ambiguous. And it didn't begin in 1880 and end in 1930. Modernism, whenever it began, will always be with us, for it is not primarily a revolution in diction, or a response to indus­trialisation or the First World War, but is art coming to a consciousness of its limitations and responsibilities.

 Article in the New Statesman by Gabriel Josipovici... Modernism still matters

quote....'Writers such as T S Eliot and Samuel Beckett worked in synchrony with continental Europeans such as Thomas Mann and Franz Kafka, pushing against the limitations of art. Why have English-language writers turned away from this challenge?'....

Perhaps they haven't, in the right light, on a good day Flarf could maybe sort of be seen as a new modernist project....? I have been thinking yesterday as I've been browsing and reading articles on Flarf and more than that  (always) reading flarfish work itself ... that how like Stein they sound. Stein with her speech fun, blurring 'notions of the real. Stein was flarfing in 1910...
Who else I wonder,  well Shakespeare if you read him like that ... not for the dead/dying king (hint hint) story but for the word play... the absorb-ion of 'other' text... but I guess Kafka and Ribalais, Beckett... hmmm needs full-time ruuummmination. Lucky I'm doing a ph-bloody-d!

how bout some definitions ... heres one on flarf from Schotts Vocab printed in the NY Times
quote...'

Flarf

A novel form of digitally-inspired poetry, often generated from the results of Internet search engines.

Reporting in The Wall Street Journal on the increasing recognition of “flarf ” poetry, Gautam Naik explained the origins of the trend:

Flarf is a creature of the electronic age. The flarf method typically involves using word combinations turned up in Google searches, and poems are often shared via email. When one poet penned a piece after Googling “peace” + “kitty,” another responded with a poem after searching “pizza” + “kitty.” A 2006 reading of it has been viewed more than 6,700 times on YouTube. It starts like this: “Kitty goes Postal/Wants Pizza…”

“Flarf is a hip, digital reaction to the kind of boring, genteel poetry” popular with everyday readers, says Marjorie Perloff, a poetry critic and professor emeritus of English at Stanford University. “You used to find it only in alternative spaces, but it has now moved into the art mainstream.”

Flarf verse has appeared in America’s pre-eminent poetry magazine, Poetry. Some 15 flarf books have been published, and there’s a 400-page anthology coming out later this year. The Walker Art Center in Minneapolis and the Whitney Museum in New York have held flarf readings. Two Manhattan theaters have showcased flarf poets.

In a sign that further establishes flarf’s literary cred, practitioners of a rival poetry movement called “conceptual poetry” are now taking on the flarfists, hoping to establish their approach as the true avant garde challenger to mainstream verse.

According to Naik, flarf emerged in 2001 and has since “blossomed into an anything-goes style no longer restricted to Google searches – so long as it is novel and edgy.”

Its the blossoming that matters...

sucking on words Kennith Goldsmith sucking suckii- delish sound

http://blogfiles.wfmu.org/KG/Goldsmith-Kenneth_Sucking-On-Words_2007.mov

Is Flarf Corrosive?: A Discussion of Sharon Mesmer's "I Accidentally Ate Some Chicken and Now I'm in Love with Harry Whittington." / Poem Talk : The Poetry Foundation

Is Flarf Corrosive?: A Discussion of Sharon Mesmer's "I Accidentally Ate Some Chicken and Now I'm in Love with Harry Whittington." / Poem Talk : The Poetry Foundation

Flarf is a one-trick pony that thinks a unicorn is another kind of horse

Flarf is a one-trick pony that thinks a unicorn is another kind of horse

To read more...338 articles on/at Harriett Poetry Foundation on flarf... click here

Flarfy poetry article on Harriet

 Sina Queyras

Flarf is a one-trick pony that thinks a unicorn is another kind of horse

Thanks to Vanessa Place for the following. Given that a few days ago we had the response to this piece offered recently at AWP here on Harriet, it seems important to post the original text for your consideration. I think this clears the matter doesn’t it?
1. Conceptualism asks what is poetry?
1. Flarf says sez you!
2. Flarf is never about anything other than poetry itself.
2. Conceptualism is allegorical. It is about things other than poetry itself.
3. Flarf is the court jester. As such, it is still a member of the court.
3. Conceptualism courts jest, but is not the king’s dog.
4. Flarf is composition.
4. Conceptualism is composed.
5. Conceptualism employs a variety of techniques that compromise and complicate the question of excess text, of unreadability, of extra-textual narrativity, of the need for and love of categories and the acategorical, of the false and adored divide between praxis and other praxis, addition and subtraction, theory and things with two types of teeth.
5. Flarf is a one-trick pony that thinks a unicorn is another kind of horse.

6. Flarf is sexual repression on a half-shell. It giggles at dildos.
6. Conceptualism is sexy. The penis is a dildo.
7. Flarf still loves poetry.
7. Conceptualism loves poetry enough to put it out of its misery.
8. Flarf wants to be funny.
8. Conceptualism wants.
9. Flarf maintains a superior attitude towards the world-at-large. Random.
9. Legit.
10. Flarf has one answer to every problem. It involves the spin or schema of interpretation, that is to say, the social construction of a social phenomenon, such as is favored by advertisers and politicians. Thus, its philosophical underpinnings lie primarily in a Platonic premise of a unified ethical and aesthetic field, in the sense that the frame as represented must contain a more or less stable relationship to a larger belief-system, equally stable, preferably central, in order for the frame to function as both relevant to the empirical realities of its potential participants and to the narrative fidelity of the frame itself. Cognitively, the framing-effect involves the amygdala, and thus flarf hits an emotional pitch. The emotional pitch, it could be noted, of the hysteric.
10. Conceptualism has no answers, but is, instead, interrogative. Through the deployment of multiple strategies that serve to destabilize text (extant or made) via reframed reiterations and multiple sites of rhetorical deployment, conceptualism is neo-Kantian, epistemologically concerned with the ongoing sobject and the instantiation of radical evil, in other words, the affirmative will to evil that manifests the fact of will itself. In other words, the instantiation of that which is consciously contra-textual in the sense of all that has made text make contextual sense, the rendering immaterial of every materiality of poetry. The contra-text being the new con-text, con-, as I have pointed out elsewhere, in the sense of being a cunt. Conceptualism is, as the term indicates, primarily a cortical engagement.
11. Flarf is funhouse Freud: the id tweaking the superego.
11. Conceptualism is Lacan in a mirror, the discourse of the slave.
12. Flarf is Freudian in the sense of the drive by way of the virtual dérive. As such, it must be sans satisfaction. Le donné
12. Conceptualism is Lacanian in the sense of desire by way of the Law by way of the petit objet a. As such. La donne
13. Flarf plays Cuzin while playing it off, it speaks to people in people-voice okay, it’s the first to suggest titty beer bong hits and butterscotch Jell-O shots, it wants to stay up late and bitch bitch bitch, it might bleed out but nothing’s permanently stained, it surfs like point break without leaving a wake, it goes Louey-Louey and blows O.C. pretty, it would like you to like it, really?, it wants to be kinda Dada but it’s not that fucking desperate, wants to play it black but mostly lays trick pussy.
13. Flarf plays Cuzin while playing it off, it speaks to people in people-voice okay, it’s the first to suggest titty beer bong hits and butterscotch Jell-O shots, it wants to stay up late and bitch bitch bitch, it might bleed out but nothing’s permanently stained, it surfs like point break without leaving a wake, it goes Louey-Louey and blows O.C. pretty, it would like you to like it, really?, it wants to be kinda Dada but it’s not that fucking desperate, wants to play it black but mostly lays trick pussy.
14. Flarf is a style, a mode as à la as sliced cheese on pie. Those who write flarf write flarf, or, to use their terminology, they write “flarfy” poetry, to be distinguished from regular poetry. Flarfy poetry makes hay where the sun don’t shine. Like baboons copulating in cages at the zoo, flarf fucks inside the glass walls, a show-stopping show, playing to the embarrassed (maybe) or bemused (could be) or the temporarily entertained (probably), it’s kind of natural but nature’s not in it (who me?). In this sense, flarf is a whoopie cushion in the world of the new & old lyric poem.
14. In this sense, conceptualism is a fart.
15. Ron Silliman likes flarf.
15. Ron Silliman does not like conceptualism.
16. Flarf succeeds in doing what it sets its mind to, to upend and offend, to play the hand all the way through. The best flarf is virtuosic.
16. The best conceptualism is failure.
17. Flarf looks like poetry.
17. Poetry looks like conceptualism.

source click here

bookslut

BOOKSLUT

Flarf vs. Conceptual: Nada Gordon

Flarf Festival 06: Nada Gordon - "Nugatory Wax Milk Goats"

Flarf Festival 06: Stan Apps - "Elmo"

Studio 360's Flarf episode

click here

gooooooggling flarf- googling flarf by Michael Gottlieb- from jacket again - oh jacket

quoting Michael..."Does poetry have a job? Is there something that is it supposed to do? Do for us? To us? I would suggest if what we are now calling Flarf has a role in our life, jointly or severally or individually – in, say, our literary life, its role is not, cannot be substantially different than that which previous methodologies or schools or movements have taken upon themselves. Its job – and I do think I believe that poetry indeed does have a job – is to crack open this terrible world and give it back to us in a way so we see it – at once, whole, entirely anew and, simultaneously, completely familiar. Its job is to enable us to see it in a way that we never could before, and never could now — without the aid of this new work. If we can adduce that this is art’s, poetry’s job – or, better perhaps – its responsibility, in every age, then we can, we have to, perhaps, stipulate that with every age poetry must needs find new tools to make it — as someone dead once proclaimed — to make itself new, to make itself over, anew. The old tools don’t work anymore, at least for the time being – they are tired. The terrible vistas they once revealed now seem merely pretty. This is a commonplace: it is virtually impossible to look at Van Gogh or Matisse or read Eliot or Williams and grasp how uncompromising – how ugly, brutal, honest – they once seemed. It is our curse, is it not — as artists, to become picturesque? We should live so long.

That’s why we need these folks, and every tool they can lay their hands on..." 

for more click here

The New Pandemonium: A Brief Overview of Flarf

quote from Jacket article
This is what you should know--this is not like any other POETRY reading. I mean people heckle and wisecrack and shout and wear bunny ears and pee themselves while crying and screaming ‘Awwwwwwwww Yeah!’ and ‘Cid Corman!’ Bruce Andrews actually laughs in the audience.

—Anne Boyer, “A Draft: What Happened at the Flarf Festival” 

'That Flarf did start as a coterie—and that the original intent of the Flarf poets was neither to democratize the world via the Web nor to go undercover as a stupid person who reports back to readers—is clear from Sullivan’s account of the group’s genesis, which also underscores exactly how difficult it is to present Flarf as a viable political intervention. Central to any account of the genesis of Flarf is Sullivan’s poem “Mm-hmm,” which he characterizes as “the most offensive poem I could manage.” Sullivan submitted “Mm-hmm” to the poetry.com website, which is essentially a vanity press that accepts anyone’s work and then seeks to sell the poets bound copies of their work and that of other “winners” (“The Flarf Files”).

Mm-hmm
Yeah, mm-hmm, it’s true
big birds make
big doo! I got fire inside
my “huppa”-chimp(TM) 5
gonna be agreesive, greasy aw yeah god
wanna DOOT! DOOT!
Pffffffffffffffffffffffffft! hey!
oooh yeah baby gonna shake & bake then take
AWWWWWL your monee, honee (tee hee) 10
uggah duggah buggah biggah buggah muggah
hey! hey! you stoopid Mick! get
off the paddy field and git
me some chocolate Quik
put a Q-tip in it and stir it up sick 15
pock-mocka-chocka-locka-DING-DONG
fuck! shit! piss! oh it’s so sad that
syndrome what’s it called tourette’s
make me HAI-EE! shout out loud
Cuz I love thee. Thank you God, for listening! 20
                                                               (“The Flarf Files”)

Despite (or because of) its deliberate awfulness, the poem displays some clear affinities with well-known avant-garde poetry of the early 20th century. Aside from the intentional misspellings and phonetically rendered flatulence, which calls to mind some of the more puerile typographical devices used by Marinetti, the poem derives much of its comedic force from a common trait of Dadaist poetry—its rapid shifts of subject matter—with the “stoopid Mick” references coming from nowhere after a line of nonsense that evokes, perhaps intentionally, some of the facile appropriations of “African” speech rhythms in poems by Tzara and Huelsenbeck...'

Ball by Ander Monson... excerpt

Ball

For starters, the dagger and the Ball are connected in interesting ways. The Ball itself, as you'll soon see (see also "Exteriority," "Vanishing Point: Middle West, Citizenship," "Interiority"), is more than just a ball. It is a way of life. A symbol of something. An obsession, but not just an obsession. It virtually requires annotation, exploration, theorization. It's hard not to make the ball into myth. It makes itself into myth by force of its own conviction.

And if you like the Ball, and I like the Ball, or if you like balls at all ("we've got the biggest balls of them all" --AC/DC, juvenile-ly), enjoy also The Available World, which uses a slice of the Ball--perhaps sliced off with something like a dagger--as the cover image (see below for more). Like many of my books, there are a lot of correspondences between this one and that one.

It is either a defect or a feature. I prefer a feature.

I don't know why I find the Ball so fascinating, why it means more and more the more I think about it. Balls are like this, the more you use them, the more you think about them, the more they roll and accrue gravitational forces. Super balls, for instance. They accrue dust and gum and fur and whatever else as they travel quickly through the air, ready to break your parents' collectibles if muscle-loosed. Too, I'm a fan of the video game Katamari Damacy and its sequels, which features some serious ball action. You probably need to check this game out if you haven't played it yet.

Some epigraphs from TAW:

Let us roll all our strength, and all / Our sweetness, up into one ball; --Andrew Marvell

The prince rolled them all up, rolled and rolled, until the katamari was big enough to be lifted up to space to replace the shiny stars that were so grievously lost. And that, dear friends, was the plot and purpose of the fabulous game called Katamari Damacy. --We Love Katamari Damacy

Every ball is a model of the world. Even down to the layer after layer inside of it:

for more
click here

Ander Monson is really interesting his blurb is as follows
...'Inside every thing there is another thing. Inside each self there is another. Crack the I open and another one emerges. The I — even a fictional I like those we find in memoir — is a mine. The book, a mine. It's mine: I should know. This is the website for the book. Superimpose it on the book. Print it out and stuff it in. The book is a static artifact. The website, not so much. There's more here, new tunnels, new considerations, more thinking. It might not be the same when you return. So: think of the website when you think of the book. Start with the book. When you see a word adorned with a dagger (†) in the book, enter it in the box above.'

!!!! The Find: Reality Hunger: A manifesto by David Shields magnificent

Reviews on Reality Hunger: A Manifesto

(Knopf, published February 2010)

David Shields... more here

“It's about time someone said something this honest in print.” —Susan Salter Reynolds, Los Angeles Times
“David Shields's radical intellectual manifesto, Reality Hunger (Knopf), is a rousing call to arms for all artists to reject the laws governing appropriation, obliterate the boundaries between fiction and nonfiction, and give rise to a new modern form.” —Vanity Fair
“This is the most provocative, brain-rewiring book of 2010. It's a book that feels at least five years ahead of its time and teaches you how to read it as you go.” —Alex Pappademas, GQ
“……I don't think it would be too strong to say that Shields's book will be a sort of bible for the next generation of culture-makers.” —David Griffith, Bookslut
“This dude's book is the hip-hop album of the year…” —Peter Macia, Fader
“David Shields' new manifesto, Reality Hunger, models a radical rethinking of the rules of artistic appropriation.” —Chris Mitchell, The Week
“One of the great books of the year.” —Jeff Simon, Buffalo News
“Good manifestos propagate. Their seeds cling to journals and blogs and conversations, soon enough sprawling sub-manifestoes of acclamation or rebuttal. After the opening call to action, a variety of minds turn their attention to the same problem. It's the humanist ideal of a dialectic writ large: ideas compete and survive by fitness, not fiat. David Shields's Reality Hunger has just the immodest ambition and exhorter's zeal to bring about this happy scenario.” —Sam Sacks, The Wall Street Journal
“Entertaining, insightful, and impressively broad… brings to mind an amped-up Nicholson Baker… Most important, it's a guidebook for where literary writing could go in the future… You might not agree with Shields's broadside or his hardheaded conclusions, but it's difficult not to fall under the sway of this voracious and elegantly structured book. Reality Hunger is ultimately an invigorating shakedown of the literary status quo: recommended for readers, essential for writers.” … Scott Indrisek, Time Out New York
“A spirited polemic on behalf of nonfiction… an important book. The fiction vs. nonfiction debate has become intense in recent years, and Shields cranks it up a notch… smart, stimulating, and aphoristic. …a provocative and entertaining manifesto.” —Blake Morrison, The Guardian, Book of the Week
Reality Hunger is not just a manifesto for a new kind of genre-blurring 21st-century prose; it is also a series of short, sharp provocations. . . . Shields has a point when he nails the traditional contemporary novel for being, for the most part, not at all contemporary. …And I suspect he may be on to something in sensing that his boredom with traditional fiction is symptomatic of a culture-wide exhaustion with the form.… He manages to give bourgeois traditionalists a right good kicking. One cannot help but admired his verve as well as his nerve.” —Sean O'Hagan, London Observer
“Essential reading for both readers and writers. Bold, entertaining, contentious, it pushes us to think about the processes and future of fiction-making, as well as its relation to nonfiction. In short, it shakes us up a bit.” —Stephen Emms, The Guardian
“The book is anything but a monograph; it's a polygraph.” —Toby Litt, Financial Times
“The subtitle of David Shields's Reality Hunger categorizes it as "a manifesto," which is a little like calling a nuclear bomb "a weapon."” —Don McLesse, Kirkus Reviews
“Thrilling to read, even if you disagree with much of it.” —Zadie Smith, The Guardian
“I find Shields's book absorbing, even inspiring. The ideas he raises are so important, his ideas are so compelling, that I raved about this book the whole time I was reading it and have regularly quoted it to friends in the weeks since.” —Jami Attenberg, Bookforum
“The phrase "paradigm shift" is one that induces my gag reflex, but that's what he's up to here. And, dear readers, shift happens.” —Kimberly Marlowe Hartnett, Seattle Times
“How can we create a literature that's urgent and vital and true to this particular here and now? Practices of writing, and reading, are shifting. None of us should take current modes of expression for granted. I want people to read his book and passionately debate these issues. I want this discussion to matter. And I want to be part of it.” —Catherine Bush, Toronto Globe and Mail
“It's already become required reading in university spheres, galleys passed from one student to the next like an illicit hit of crack cocaine. I came away from Reality Hunger excited about writing my own fiction, and impatient about books that don't offer these same thrills.” —Sarah Weinman, Flavorwire
“David Shields has put a bullet in the brain of our ridiculously oversimplified compulsion to think of everything as a narrative. His latest book, Reality Hunger, is a story with all the veils—and, for that matter, all the skin and tendon—pulled away. It's a collection of quotations crushed together into a collage about the stories we tell ourselves. Everybody knows that memoirs are bullshit, but they still read them because they have to satisfy the need to force the world into a pretty frame. With Reality Hunger, Shields smashes the frames.” —Paul Constant, The Stranger
“I've just finished reading Reality Hunger: A Manifesto, and I'm lit up by it—astonished, intoxicated, ecstatic, overwhelmed.” —Jonathan Lethem
“One of the most provocative books I've ever read…I think it's destined to become a classic.” —Charles D'Ambrosio
“This is the book our sick-at-heart moment needs—like a sock in the jaw or an electric jolt in the solar plexus—to wake it up.” —Wayne Koestenbaum
“Reality Hunger demolishes all the conventional literary pieties to which nearly everyone pays eager lip service.” —Tim Parks
“Most exciting book of the 21st century so far.” —Ekow Eshun, Director of the Institute of Contemporary Arts, London (on Twitter)
“Reality Hunger, by David Shields, might be the most intense, thought-accelerating book of the last 10 years.” —Chuck Klosterman (on Twitter)
“David Shields's radical intellectual manifesto, Reality Hunger, is a rousing call to arms for all artists to reject the laws governing appropriation, obliterate the boundaries between fiction and nonfiction, and give rise to a new modern form.” —Elissa Schappell, Vanity Fair
“I think Reality Hunger is absolutely wonderful. Exhilarating.” —Mark Leyner

Great interview with him on KCRW  here

William Gass - Bookworm on KCRW

William Gass - Bookworm on KCRW

bp nichol - white-text-sure noise

click here


plus more here

Polar Bear

Gorecki Symphony No. 3 "Sorrowful Songs" - Lento e Largo

Steve Reich - Different Trains (Europe - During the war)

Different Trains - Steve Reich

Steve Reich - Different Trains (Part I)

Damn just missed the MEAPOLIS!!! Audio Festival

...but if you click on this you can hear and see the archives full of fabuloso instillations, sound, projects software etc from the get-to-gether... really worth a good long look listen.

Self Portrait from Kitty Huffman on Vimeo.

Vistors Studio by Marc Garrett a love love loouvely work

click here

Borges, Flowers and the Flower of Coleridge quotes

'Coleridge observes that all men are born Aristotelians or Platonists. The latter feel that classes, orders, and genres are realities; the former, that they are generalizations. For the latter, language is nothing but an approximative set of symbols; for the former, it is the map of the universe. The Platonist knows that the universe is somehow a cosmos, an order; that order, for the Aristotelian, can be an error or a fiction of our partial knowledge. Across the latitudes and the epochs, the two immortal antagonists change their name and language: one is Parmenides, Plato, Spinoza, Kant, Francis Bradley; the other, Heraclitus, Aristotle, Locke, Hume, William James.'

(Jorge Luis Borges (1899-1986),

'In the order of literature, as in others, there is no act that is not the coronation of an infinite series of causes and the source of an infinite series of effects.'

(Jorge Luis Borges (1899-1986), Argentinian author. "The Flower of Coleridge" ["La flor de Coleridge"], Other Inquisitions [Otras inquisiciones] (1952).)

a bag of books - fav book list

A friend recently asked me what I'm reading, my best book list, that sort of thing and when I shook myself free of the phd mind, (and jet-lag)  I  realized I was still reading 'other' stuff. So heres my list...

My fav... writers in no special order- well there is an order but it doesn't really matter, they are more like a mob of my favorites... like a bag of liquorish all-sorts you cant go wrong.

Gertrude Stein - everything (of course)

Sam Beckett - ditto

Rosemary Waldrop

Carla Harryman

Gail Scott – My Paris

W. G. Sebald

Laurence Sterne – The Life and Times …

Leslie Scalopino - yes, so sharp, yeikes

William Gass - everything

Faulkner -his focus on sound not image

Anne Carson- everything

Elizabeth Crane - You need to be happy to enter here

Raymond Federman - so sadly missed

Marguerite Duras

Roland Barthes- yep

Carole Maso - the lot

Helene Cixous - White Ink and Ladders on writing

Luce Irigaray- especially her work on love, love, love

Lydia David

Epson – 7 types of Ambiguity

Paul Celan

Joe Brainard – I remember

Lingis - Dangerous Emotions and eeevvverything

David Markson – The Last Novel

Clarice Lispector - everything

Paul C. Metcalf –  Genoa, Wild West, Patagoni, The Middle Passage, Apalache

Kathy Acker- just about everything

Clark Coolidge - yep specially like the work he did with Guston

Heres another list by Raphael Rubinstein 'Gathered, Not Made: A Brief History of Appropriative writing...' that I like alot, mainly because of the serious word play.

Click here

Worlds Youngest Ventriloquist

Worlds Best Ventriloquist - Dan Horn -1984

Awsome comedian must see!! (with puppets)

Redneck Dummy

Speches-Best comedian in the World *we are equal*

Speeches - Best Speech ever

Speeches 40 Inspirational Speeches in 2 Minutes

Speeches Martin Luther King "I have a dream"

Guess who's coming to dinner speech

Emily XYZ- ah at last!!!

A hero of the New York performance and poetry scene, EMILY XYZ's poems often go so far as to demand a second voice to carry their multilayered punch -- she most often performs with actress Myers Bartlett, who appears with her in "The United States of Poetry." Hailing from upstate New York, Ms. XYZ has recently released her first record Electric Magistrate (Mouth Almighty Records), with music by Virgil Moorefield.

 for more oral mischief click here

EmilyXYZ and Myers Bartlett - Slot Machine

Emily XYZ - 11/04

Emily XYZ & Myers Bartlett - Frank Sinatra

another text by me now online - Dear Emily Abendroth

dearemily…

my head is swimming with foot falls and little song breaks as given.

and where I go culling posies as pigs all hours repeatingly…the song sung’n

In short. it is about what counts obtaining

what counts to you dearemily…

from toward eadward forward [with interruptions from the Sowgirl of Salzburg]

                                                                                                                                                                                                 

                                                                                                                                                        dearemily…

your eadward your interruptions are that unsered to finish…

there are twelve operas…

 Salzburg is swimming with foot falls and little song breaks as given

and where I go culling posies as pigs all hours repeatingly…the song sung sing

In short it is about what counts obtaining

what counts to you dearemily…

THE WALK & THE AMBLE

dearemily…

the wore more often than not is conceived as a journey to and from fixed states of being. The weather is continually becoming) Frosts and fogs and dog days

my head is swimming with foot falls and little song breaks as given

SING AMPLE

sing ample

and where I go culling posies as pigs all hours repeatingly…the song sung

In short it is about what counts obtaining

what is to you dearemily…

clocked at midlope, every mare facilely unropes
any strict predictions of flight, unleashing
locomotion like a prestorm hushponcho
the full gipper of precipitation still on the lamb

* for more  of its writterly wonders click here

perabulations of blu- new writtng

a perambulation of... Blu’
(Levina’s ethical relation to alterity)
a dialogue (in the making) between self and mine other

... for more click here

Via Error- 48 Variations of Dante Variations (variations of caroline bergvall (of dante))

Error lay at the source of all change, all species experiment. It was the author of all the still emerging undesignable variations on life… The ability of traits to persist in stillness. Evolution is the exception, stability the rule…yet faulty copying (of generic information) is the only agency for change…Species laugh off the most rigorous hierarchy… The aim is to widen the target, to embrace more than was possible before.

- misquoted Richard Powers, The Gold Bug Variations

   by using the word generic in stead of genetic.

… who works at his (her) own word in all of our sentences might trick from even the ruts of once ritual the buts and mistakes that token the actual. The poet as maker frees the thing from the prophets.

- Robert Duncan, footnote to “Letters for Denise Leverton; An A Muse Ment”

 - quoted from Kathleen Fraser’s essay Faulty Copying from Translating the Unspeakable, Poetry and the Innovative Necessity.

1.along the jouney ofour life half way

I found myself along the jouney in a darwood where the path no longer lay

2.at the midpoit of my life Ifound myself o a jouney

the strait path therein lay vanished

3alfwayway over the way of our life

missed the struggle way

4.halfway along the forest obscured by the lost way

I faltered

the path

5.halfway along our journey I had woken in wonder

at the point no longer half the way astray

6halway through thi treckoflife

I found myself halfway and half to go

7halfay through our     treck in life I found myself halway

in a dark wood and I didn’t know whee to go

88halfway upon the journey

I found myself in a gloomy wood  reasoning the path direct as lost

9halfway alonf the journey of my life

I roused to find myself in darknes

and I faltered because the waywas really lost

10in the middle of our journey

I found myself in a darkened wood

and I rasoned the right road was lost for good


 for more go to... here

Transcripted without asking or checking by Majena Mafe  2008, after reading each passage once, typing it down out along the path with one finger by the light of the dark without looking ahead...whilst sitting halfway in a tree’d place halfway along. Repeaten the repeat repeatedly.

Toop interview in BOMB on the launch of his book ... Sinister Resonance: The Mediumship of the Listener,

quoting Toop ...'I was wondering what the nature of listening actually is. It’s an everyday experience, not necessarily a special thing, but it has elements of the uncanny about it because sound is so fleeting. Where does it exist in space? Where does it come from? It’s one of the peculiarities of listening that when we can’t identify the source of the sounds we’re hearing, we make assumptions, and, of course, that leads to ambiguity. That’s accentuated by the fact that sound seems to be at its source, all around us, and in our heads simultaneously. There’s a strong overlap there among what exists, what we think of as the real, and what may be auditory hallucinations. All this material is mixing in our mind with the constant flow of thoughts. The term I came up with was mediumship—there was some sort of power there. As we listen we’re trying to draw out information from something that has already passed, and was ambiguous anyway. This seemed to fit with the notion that the representation of sounding events or listening experiences can exist in silent media. It’s not so big a jump to think of literature in that way, because it’s a verbalization of experience. But a 17th-century painting is a bigger jump..'

for more click here

Steve REICH: The Cave

Steve Reich`s City Life - Part 3 "It`s been a honeymoon"

Article on Steve Reich and sounded language (!!!) by Richard Serra

quote ...'Sometimes as the music evolves patterns change so swiftly that its logic evades me. I am unaware of its consistency, particularly in the latter work, where I only experience an emotional effect, and I completely give myself over to the rush of sound. Yet I am aware that there is an exact weight to the lightness of the sound. Although there are varying durations, the power of Steve’s music has a lot to do with its speed. I find my ear and mind being flooded with ideas and emotions, which follow in quick succession. Tempo counts. Tempo — timing — may be a value in and of itself, and it’s of particular importance to me whether the pace is quick or slow, contracted or extended. It’s the same subjective time that conveys meaning to perception as you walk through an installation I recently completed in Bilbao titled The Matter of Time. It is based on the idea of multiplicity or layered temporalities. Duration — not clock time, not literal time — is the main organizing principle that drives the work. The time of the experience can be fast or slow, which depends entirely on bodily movement. The listening to Steve’s music is subjective time, psychological time, durational time, and comparable to the viewing time in my work.
Some of the music places me in a constant state of unease with its continuous, relentless, insistent modulations. It forces me to follow its trajectories. It gains its power through the building of similarities, connecting them one after the other so that the process of adding produces a kind of layered rhythm: forward, forward, backward, forward. As the pieces develop, the sound includes and connects all that you’ve previously heard in its elastic stretch. It is as if the sound begins to roll forward, pitch backward, and then forward again, shift and repeat. I understand that the form is a round, but it’s not what I hear. This is not the Alouette I learned as a child.

            When I recall Come Out or It’s Gonna Rain, I don’t recall the structure or concise logic of the pieces. What I retain is a feeling of alienation and discomfort. It might seem strange but the discomfort arises from a rethinking of form. That is what I cherish in art, whether it’s Schoenberg, Feldman, Newman, or Pollock.
Let me try to explain what I mean by a rethinking of form in relation to Steve’s early pieces, where he uses prerecorded language. He starts out with a seemingly simple premise: a found voice, a sentence uttered. But as he subjugates this found language to his structure of overlays, as it is repeated again and again, the detail of the detail begins to resonate. I find that I am drawn into the infinitesimal, the infinitely subtle moving variations. It’s then I realize I am lost in the infinite vastness of the whole. As the voices spin out they become something other than language. The words are transformed by rhythm into emotion. Words sing as sounds, and as they reach the end of the path they trace through their phased diversions and combinations the result is music, not language. Language is being pushed to the breaking point, where the meaning of the word has been obliterated so as to allow its potential for music to emerge. It’s as if the original word or phrase has been stretched along an abstract, infinitely variable line dissolving its original meaning in a process, which allows for a new meaning to emerge. Smithson, who is a friend of mine, loves Steve’s work. I can hear him say, “Oh yeah, I get it. The disintegration of language into the vortex of entropy.”

for more click here 
Steve's website click here 
good bio etc here

When the attention of the mind draws close to the idea of the sound in language

Work in progress....

'When the attention of the mind draws close to the idea of the sound in language, and after polishing it in the mouth, between the tongue and the top of the palette, attempt'n to talk of it... the mouth immediately is stuck with the choices it has open to it i.e. to speak. The choices are varied and so much many that it is drawn to pause and this pause can be often misread or misheard as silence. But with silence being just one of the sounds of language we find in it... we have already begun at the place where all sounds are folded into and mirror each other so-exactly that they fall still-frozen in the face of themselves.

And this will not do. 

The position of the tongue in relation to the throat is at once a position of the self and the object – in this case the object has no ‘real’ name and no real sound. The shape of sounded language cannot be decided, the territory of it’s…the register, the history philosophy, is again oblique, a whisper. The only way to describe it is through that that refuses it. It is in effect a gap.

We are stood up by the very object we wish to dance to, sing along with.

So I begin with the tenuous threads or echoes that I hear of it in what I do have...'

A digital essay... for more go to http://biography-sound.blogspot.com/