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Showing posts from May, 2005

electronic ink

Electronic ink is a new material that will have far-reaching impact on how society receives its information.

Electronic ink is a proprietary material that is processed into a film for integration into electronic displays. Although revolutionary in concept, electronic ink is a straightforward fusion of chemistry, physics and electronics to create this new material. The principal components of electronic ink are millions of tiny microcapsules, about the diameter of a human hair. In one incarnation, each microcapsule contains positively charged white particles and negatively charged black particles suspended in a clear fluid. When a negative electric field is applied, the white particles move to the top of the microcapsule where they become visible to the user. This makes the surface appear white at that spot. At the same time, an opposite electric field pulls the black particles to the bottom of the microcapsules where they are hidden. By reversing this process, the black particles appe…

Still spinning

Three Cheers for Patrick Hero(n), The Internationalist, Carrboro parks and Recreation, Open Eye Cafe etc. So amazing people at THE poetry Festival. Philip Nikolayev was funny and gorgeous. Lyric in an interesting and strange way. It was really nice to finally meet Gabe Gudding and Allyssa Wolf and Amy King and Christian Bok among so many many others. Rod Smith rocked the house good moving between splayed poems on the podium. Chris Vitiello and Gabe Gudding both pulled off some dead pan crazy funny readings. Harryette Mullen gave me goosebumps with "We are Not Responsible" (from sleeping with the Dictionary). Standard Schaefer read a correspondence between James Baldwin and Walter Benjamin. Julian Semian also read some very surreal and properly dense letters. Ken Rumble read a dialogue with his soon-to-be wife Kathryn. Todd performed some arson. Randall performed with a caterpault. Mel Nichols was one of the highlights of the festival with her Day Poems (I've got her chap…

Carrboro Poetry Festival

Here's a nice little write-up about the NC poetry scene by Ken Rumble. Although there is an inaccurate lumping of: Black Mountain poets, Randell Jarrell, UNC Greensboro's MFA program, Jargon Society. I think the rhetorical strategy of the piece is dead-on, but not sure about placing all these people and scenes together as part of the innovative tradition in NC? Especially since the innovative tradition (esp. Black Mountain) directly opposed the literary establishment of Randall Jarrell (Randall Jarrell says you're a poet etc.)

Although as a welcoming gesture for the festival the article does a good job and Ken does a great job of highlighting the various scenes within scenes and magazines (like Backwards City Review out of Greensboro).

Check it out:

Indy Weekly Article on Carrboro PoFest

Spectacle Versus Performance Art?

When does the use of advertising language, for example, simply reinforce the advertising culture? Or, to go back a bit, did our man Andy W. challenge the status of low/high art via soup cans etc. or reinforce those distinctions?

Performance artist Mark McGowan, 37, has rolled along the streets of London to promote kindness to cleaners and used his nose to push a monkey nut to Downing Street

Performance or spectacle? Or is there a difference?

check out the story (which is of course removed from the performance by at least three steps):

The Peanut Pusher

disappearing ETC. . .

Reading some great essays on Tom Raworth (Removed for Further Study from The Gig) and some really amazing performance/sound/shamanistic poems of Maggie O'Sullivan (Palace of Reptiles also from The Gig).

Recently heard Redell Olsen on the Penn Sound site.

I am really interested in the various reconfigurations of Objectivism in England and Ireland. There is a real performance/oral based aethetic in the work of Geraldine Monk, Maggie O'Sullivan, Redell Olsen, and of course Tom Raworth. But it would be wrong to label these poets as Objectivists from the England and Ireland. There could be a connection to primitivism/vorticism, as well as connections to various poets from the English and Irish traditions. For example, Geraldine Monk writes through/with Hopkins in Interregnum.

It's also different in terms of university support. While a lot of American innovative poets decry the academy, it seems a lot of poets from England (and especially Ireland) could do with more institutional …

History of mother's day?

Historians claim that the holiday of Mother's Day emerged from the ancient festivals dedicated to mother goddess.

In the ancient Greek empire, Rhea, the wife of Cronus, and mother of Gods and Goddesses, was worshipped.

In Rome too, Cybele, a mother Goddesses, was worshipped, as early as 250 BC. It was known as Hilaria, and it lasted for three days, called the Ides of March, that is from March 15 to March 18.

However, neither of them meant for the honoring of our immediate mothers, as is done in our Mother's Day.

Rather more closely aligned to our Mother's Day, is the "Mothering Sunday".England observed "Mothering Sunday", or the "Mid-Lent-Sunday, on the fourth Sunday in Lent.

In the United States, Anna M. Jarvis (1864-1948) is credited with bringing in the celebration of Mother's day.

(http://www.theholidayspot.com/mothersday/history.htm)

Is it true Stalin celebrated Mother's Day as a way to encourage traditional gender roles (seperate spheres etc…

Durham goodies

Just got back from Durham with some goodies. Picked up:

1) Ed Dorn's Gunslinger Book III The Winterbook (Frontier Press)

2) Rodrigo Toscano's The Disparities (Green Integer)

3) Theresa Hak Kyung Cha's Dictee

4) Lauren Fairbanks' Muzzle Thyself (Dalkey Archive Press)

5) Clark Coolidge's Mesh

also recently acquired:

1)Bruce Andew's Give Em Enough Rope

2) Geraldine Monk's -Inter-REGNUM (Creation Press. I've devoured this twice already. Delicious. Hopkins+objectivist+Vorticist/Primitivist)

3) Louis Zukofksy's A (University of California Press. This will be a continual project for quite a while)

4) Mark Scroggins' Louis Zukofsky and the poetry of Knowledge (fascinating so far)

Also, got an email from John Lowther of the Atlanta Poets Group.

Check out some of the AGP performing on the radio:

WREK

scroll over to sunday then down to the sunday special (7-9). its
a 2 hours show with lots of apg recordings and it will be gone as soon
as the next sunday s…

Nomadic dispossessions

Before I went home to Ireland last Christmas I had a recurring dream/nightmare that Ireland had been coopted by Las Vegas. All the green fields changed into a desert of neon lights. While the dream was certainly personal in its manifestation of the anxiety of identity ( emigrated to Las Vegas from Ireland in 1985 right after watching E.T.) it also might connect to a larger issue of cross-cultural innovative poetics.

As more and more innovative poetics from the U.K. gets published in the U.S. the problem of contextualization becomes apparent. Is British, Irish, Scottish, and Welch poetry united to (or indebted to) the innovative traditions in the U.S.? Or, how can an American avant-garde read innovative U.K. poetry contextually?

While there is certainly a strong influence of the New American poets in individual innovative works by U.K. poets, I think it would be a mistake to read these works transnationally as an united struggle against oppressive mainstream practices.

The configurations…

Why Write (part two)

I've been thinking over my thoughts about why writing matters. Publication and ego boosts and smoozing are all part of it. But perhaps, at least for me, not the core.

The large claims of syntactic disruption advocated by some of the language writers (Charles Bernstein in particular) in order to confront and unseam the structural politics that limit freedom is quite convincing. I don't think syntactical disruption is the only way to challenge the structures of oppression, but I do agree that merely advocating a "liberal" politics via "liberal" content no longer works. It's a 60's strategy whose time has come and gone.

Now it's time for tactics rather than strategy. Moving in the enemies (not enemy's) camp. Restructuring how meaning is conveyed from within the very structures themselves. In other words (as all those fancy French theorists point out) there is no outside with which to critique systems of oppression. Certainly the continuation of…

final desert city reading (for 2005!)

Lee Ann Brown and Carl Martin read last night to wrap the 2005 Desert City reading series. Carl Martin read first:

rich sounds, density, surrealist touches, a head well squared on the body.

I am was really impressed with the consistent quality of Carl Martin's work. He read from his first book (the title of which I forget on this pre-coffee morning) as well as Genii Over Salzburg. It was pure delight for the emotion thinking complex.

Lee Ann Brown's singing was interesting (her signature reading strategy). We sang along about breaking new ground. I think what interests me the most about the singing strategy is how it reconfigures the audience. We switched from mostly individual ingestion (hm and huh and ah) to more overt collective ritual sharing via chrous singing.

I also picked up a few books while I was in Chapel Hill:

1) Robert Creeley's 30 Things (with Monoprints by Bobbie Creeley)

2) Bruce Andrew's Give Em Enough Rope

3) Tristan Tzara's Seven DADA Manifestos…