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Showing posts from July, 2005

subscribe to the Never Mind the Beasts podcast

You can subscribe to my rss feed for audio (just click the link)

But, better yet, subscribe to the Never Mind the Beasts podcast via itunes (within a day or two). Just search for Never Mind the Beasts under podcasts in itunes.

The podcast will feature post avant poetry, music, special guests, live shows etc.

should be fun times.

More soon.

Lucifer Poetics Group on Tour

I'm going on a reading trip with the Lucifer Poetics Group.
Come see us if you're in any of the areas.

Here's our tour schedule:

Baltimore: Wednesday, July 27, 7pm -- Red
Emma's Bookstore:
800 St. Paul Street


Cell #2:
Randall Williams
David Need
Ken Rumble

Cell #1:
Marcus Slease
Brian Howe
Todd Sandvik

Cell #3:
Reb Livingston
Matthew Shindell
Mike Snider

Philly: Thursday, July 28th, 7pm: Molly's
Cafe & Bookstore:
1010 South 9th Street
Philadelphia, PA 19147
(215) 923-3367

Cell #1
Brian Howe
Todd Sandvik
Marcus Slease

Cell #2
David Need
Randall Williams
Ken Rumble

NYC: Friday, July 29th, 6:00 PM
Pete's Candy Store
709 Lorimer Street
Williamsburg, Brooklyn, 11211
(718) 302 - 3770

Cell #1
Todd Sandvik
Brian Howe
Marcus Slease

Cell #2
David Need
Randall Williams
Ken Rumble

read luciwork from non-traveling lucis???

Ithaca: …

Some thoughts on reading Stephen Jonas

Part One of Stephen Jonas' Selected Poems (Talisman House) is titled Exercises for the Ear and Part Three is titled Orgasms/Dominations. These titled capture the amazing fusions and poles of Jonas' work. Jonas accomplishes a fusion unlike any poet I've ever read. The urgency and passion of the language is tempered with cool classical grace. You could spend hours tracing the various allusions and references. In this first part I did see a lot of Pound and Williams as heavy influences. Derivative in the non-perjorative sense. (why is this a bad word in poetry and not in music?) But while images are important, they are not central in the same way as Pound and Williams by way of Imagism. Some of the anti-semitism of Pound leaks in, but it did not distract from my fascination with how Jonas' uses the line and incorporates various dictions and neologisms. The language comes off as hipster (beatlike) but the allusions run deep.

Jonas was self-educated (an autodidact) and his …

some new books

Just picked up some books from the bookshop in Chapel Hill and Internationalist Books. All via trade credit (with $40 in store credit left):

1) Dalachinsky (Ugly duckling Presse)

2) Xing by Ron Silliman (Factory School)

3) Runes by Robert Kelly (OtherWind Press)

4) The Maximus Poems by Charles Olson (Jargon Corinth Books)

5) American Rush by Maureen Owen (Talisman House)

6) Notebook of a Return to the Native Land by Aime Cesaire (Wesleyan University Press)

7) A California Journal by Robert Kelly (a BIG VENUS Publication)

8) The Germ (Spring 2000)

Just finished reading Stephen Jonas' Selected Poems and it helped me rearrange and rethink my entire ms. One of those life-changing books. I cannot recommend it enough. Jonas absorbed Pound, Olson, and Spicer in a fascinating way.
Linebreaks (time and the line) for the gritty hipster.


"Technology does not serve so much as modify; it simultaneously promises and threatens change."
(Steve McCaffery)

I've been reading scattershot about sound and music and space.

I am especially intrigued by the idea of low frequency sounds in Gothic churches. Low frequency sounds (bass) immerses the participant more than high frequency sounds due to a lack of origin. In the gothic church the acoustics emphasized low frequency sounds without a direct point of origin (circum nowhere centre everywhere etc.) A much more communal experience.

This contrasts with the concert performance. We have an orchestra (or whatever) separated from the spectators and with a point of origin.

This concept of low frequency versus high frequency also resonates with today's home stereo:

"Home stereo privileges low frequency (bass effects) which have longer wavelengths and less influenced by diffraction. These sounds are spatially directionality and difficult to localize as a specific sound …