ESTE NO ES UN PAÍS EXTRANJERO!
Wednesday, December 23, 2009
Achille Varzi insegna al Dipartimento di Filosofia della Columbia University di New York.
Parole, oggetti, eventi e altri argomenti di metafisica
Monday, December 21, 2009
A message from Anthony Appiah, President, PEN American Center ...
We're sure you've been following the news about our PEN colleague in China , , who has been detained for over a year in Beijing and is facing subversion charges for his writings. On Friday, Liu was indicted, and we have learned that he may be tried as early as Monday, December 21. If he is convicted, he could be sentenced to up to 15 years in prison.
Even if you have already signed our petition, or sent a letter, we are asking you now to flood the Chinese government's e-mail boxes with appeals calling for Liu Xiaobo's immediate release. You can do so by using PEN's new, user-friendly software at www.pen.org/freeliu just fill in the few required fields, amend the letter if you wish, and hit send.
Please also pass this on to your friends, family, and colleagues, and urge them to take action.
For more information on the latest developments in Liu's case, and to read PEN's press release about the indictment, please visitwww.pen.org/liuxiaobo.
Your voice matters to the Chinese government. Please help us free Liu Xiaobo now.
Sunday, December 20, 2009
Saturday, December 19, 2009
Kaia Sand, REMEMBER TO WAVE, $16
Elizabeth Soto, EULOGIES, $14
Pre-publication prices are $14 for Sand's book, $10 for Soto's, or $22 for both.
Please support our efforts to publish experimental poetry from the Pacific by pre-ordering these titles.
47-728 Hui Kelu Street #9
Kane`ohe, HI 96744
or via the "purchase" button on our website: http://tinfishpress.com
aloha, Susan M. Schultz
Editor & money-bags
Friday, December 18, 2009
Tuesday, December 15, 2009
Sunday, December 13, 2009
Wheelhouse Contributor Notes: New PennSound Audio from Emergency Poetry Series: Thom Donovan/Julian Brolaski, etc etc!
Friday, December 11, 2009
Wednesday, December 9, 2009
In June, her walk through the city was planned with precision, but submitted to the unpredictability of the city. Yet much was predictable about the reactions of crowds of people.
Homeless woman under a blanket. Fervent believer shouting scripture. Orange jumpsuited prisoner shackled and shuffling. We among the crowds don’t respond, part urbane (nothing surprises us); part safe-sure (less contact, less mugging); part co-habitationally respectful (we can all do our “thing,” living in close contact while retaining partial autonomy).
There are Two Kinds of People: People Who Think There Are Kinds of People, and Those Who Know Better
- · "Things arrive in the forms they’re given" -- Rae Armantrout
- · Prefab Eulogies also seeks to critique via submission capitalism, militarism, and neo-liberalism, the prefabricated power structures from which the poems brought under the projector in Volume 1 have emerged. In this way, Prefab Eulogies is also a critique of pure celebration (on the one hand) and pure lament (on the other) of our contemporary poetic lives--the gift economy that is our defaulted situation. Infected by the structures into which these poems are born, the gifts that make up the poetic gift economy are very often attempts to overcome tropes of "fitness" (Robert Kocik, Overcoming Fitness) that confront them (via chancing, new lyric, and other decentering poetic modes). Insofar as this is true, the poems that Volume 1 is in conversation with (as well as these poems here), as inversely analogous to the prefabricated news loops on our televisions, are therefore, also, evidence. ...
- · Some years back I wrote an essay called “Marxist Poets Dining With The Deans” as part of a symposium at Columbia University on “art” and “social change.” Poets speaking to poets about poetry. Visual artists speaking to poets about visual art. It was an exploration of the observation that some of us (myself included) use Adorno’s ideas about the division of intellectual labors to sleep well at night (where the graven is the terminal node of a project of dissensus) & where, in institutional settings, the obvious divisions between “artistic-writerly” and “activist-political” practices are often spoken of as problematic, yet in the speaking the divisions are reinforced, e.g., in the way this sentence is reinforcing such divisions. Someplace in the essay I wrote
- · “We need to learn how to organize others to interact with our work without sterilizing the work itself. It won’t, I’m afraid, happen spontaneously. Nor will it happen via overtly simple sloganeering—the crude protest poem, as it were. Nor will it happen via abstracting away, attempting to dive into the illusion that the poem can detach itself from its conditions of production. This is to say we need not change our poetic practices but change the way we invite others to take part in them.” ...
- · I’m still after the question. Why should one engage with “poetry” in the first place? And how to invite, where access to a very specific set of discourses is increasingly difficult?
- · Where “one” is “person x engaged in organizing for social & economic justice but who might not have any familiarity with contemporary poetic practices.”
- · Where, here, poetry is assumed to have use value beyond itself.
- · Where there’s a gulf between the arts, especially many contemporary poetries, and left political engagement—that very assumption.
- · At some point I began to think of poetic practice as connected to, but only contiguous with “poetry” often construed. I began thinking of poetry as a power point presentation. In two, contrasting senses (warning: false binary below).
- · Of, on the one hand, derivative structures left wanting, forms empty
- · Of faith in their impetus, dissensus. And on the other
- · Of often occulted social-poetic practices, larger poetical environments, those which fuel the scribbles in this book – work that activates in myriad ways, from ambulatory guerilla projects such as Frank Sherlock & CA Conrad’s PACE or David Buuck’s BARGE, to critical-creative interventions such as Laura Elrick’s Stalk, to workshops, and discussions a la Nonsite Collective, ON Journal, Tangent, Essay Press, the Belladonna Series, or Palm Press – just to name a few.
- · Of militant sound & site investigations. Or, to put it in Buuck’s own terms, maps for further exploration in the service of complicating dominant modes of discourse, seeing, sensing.
- kari edwards’ work comes immediately to mind here as a crucial example of a political-poetic avant-garde which has, for many years, influenced a growing number of poets interested in text arts as radical re-narration, and done so (unsurprisingly) with little acknowledgment among both the workshop crowd and those inclined to take only a cursory glance at the contemporary poetic landscape and proclaim it “post-avant.”
- · The Power Point presentation 1) implies but does not ultimately signify (it admits of, and revels in, its emptiness, or hopes to passively con us into a system of belief) and/or 2) is the evidence of extra-typographical activity.
- · Regards (1), there has occurred more than enough sterile, vacuous, albeit “enjoyable” poetry over the past decade that has mimicked Language Poetry so-called (or other “difficult” and now semi-canonical forms) such that one taking that cursory glance could think that is all that’s out there—poem after poem that revels in its open lines and hard returns, each anchored in nothing but publication desires and reification strategies-as-ad pitches.
- · David Baptiste-Chirot, though writing on work (Jenny Holzer’s) that, to me, does not necessarily succumb to a kind of corporatization, nonetheless captures this phenomenon as part of a discussion on how some “conceptual poetry” (if such a thing exists) might operate (capitulate), thus allowing us to imagine that the conceptual poem is not to be read but “presented,” perhaps via Power Point:
- · “The Concept of Conceptual Poetry…is one that resembles a form of training for the embrace of working in bureaucratic and corporate settings as an "impersonal" manipulator and mover of masses of material in the form of words…a "discipline" for the production of "well adjusted functionaries" carrying out the "boring" tasks of filing, copying, sorting and arranging word-data. The "unoriginality," "impersonality" and boredom raised to the level of "Conceptual Poetry" is perhaps a way to aestheticize the dystopian existences of millions of "lower level" workers in globalized corporations and bureaucratic State apparati.”
- · Kenneth Goldsmith’s “definition” of conceptual poetry echoes Chirot’s: “Language as…something to be shoveled into a machine and spread across pages, only to be discarded and recycled once again. Language as junk, language as detritus.”
- · As part of an anti-capitalist poetics I’m sympathetic to this set of gestures of submission – the act or ritual of dictation brackets and highlights the tyranny of wage laboring, then plays with its joints in the very act of composting. But there is nothing in Sports, for instance (the end product as opposed to the ritual) that reveals or activates other than the one-off acknowledgment of its existence as reminder of dead labor and its waste, its product as more junk, its lateness. What Goldsmith’s Sports (as opposed to, in my opinion, his work with the 9/11 tapes) gives us, it seems, is a poetics without the poetry. A poetics that I find politically appealing for projects of radical re-narration. Without the radical re-narration (or the transcription ritual as book, in favor of something more cleaving post-ritual) this power point presentation threatens to recapitulate the norm and not much more. Goldsmith’s is partly a critique of any possibility to escape the spectacle, as it were, but a potentially coercive one in its veiled circularity.
- · It is the extra-typographical activity of (2) above that I’m interested in emphasizing now as a way to avoid (1), but unlike Goldsmith, I am deeply committed to the possibility for the results of this activity—the “type,” the page, the poem often construed—to be itself a crucial site of activation.
- · Or: it’s that which goes into or results from the poem often construed, this part of the poem, which makes the poem an environment, an ecosystem, a site of activation and social practice, rather than a terminal node of typography or “solitary” graven activity, some product of the illusion of reification. However, that typographical node is a crucial area of triangulation, often the motor which runs conceptual projects, or the results of those projects, results which activate yet other projects.
- · The extra-typographical activity of (2) may or may not involve using large-scale materials, and may or may not be a largely expropriative project. The project may indeed be page-less. What matters is whether and how to matter. ....
- Quote-end-quote conceptual work that is grounded in counter-narrative (David Buuck’s BARGE, “Buried Treasure Island” is, I think, an excellent example), that has use value beyond itself, offers the worker-writer(s) multiple triggers of engagement, hence further development of a radical politics, allows for a sharing of radical social experimentation to occur, including fully participatory critique of the project’s consequences, its framing, what it reveals and what its revealing hides. ...