Articles

Manifest

Sophie Calle, “Exquisite Pain #71.”

List or Manifest of Alien Passengers for the Commissioner of Immigration at Port of Arrival
Required by the regulations of the Secretary of the Treasury of the United States, under Act of Congress approved March 3, 1893, to be delivered to the Commissioner of Immigration by the Commanding Officer of any vessel having such passengers on board upon arrival at a port in the United States[1]

List or Manifest of Alien Passengers for the Commissioner of Immigration at Port of Arrival
Required by the regulations of the Secretary of the Treasury of the United States, under Act of Congress approved March 3, 1893, to be delivered to the Commissioner of Immigration by the Commanding Officer of any vessel having such passengers on board upon arrival at a port in the United States[1]

1. No. on list
49 x 49 (7 x 7 = 49)

Little-Richards

There is a morning when it rains in the corner of everybody’s bedroom.
Jack Spicer, excerpt from Oliver Charming’s Diary (1953)

Imagine Brown

I went to Brown in March as an “artist in residence” for Interrupt3, a three-day conference on the intersection of art and text and digital things. I was anxious when I arrived because in the days before leaving people had asked me repeatedly what I would make once I got up there. I had no idea.

As soon as I arrived in Providence, I began seeing signs with the words “Imagine Brown” everywhere. They were on lampposts and banners and posters all over Brown’s (quite white — qhite?) campus.

Blunt Objects

Blunt Objects is a collaboration between Sophia Le Fraga, Shiv Kotecha, and Alejandro Crawford, produced for Divya Victor’s Jacket2 feature devoted to plural and global Conceptual writing and other cultural productions. 
 

On Pince
Alejandro Crawford

Imagine Brown
Sophia Le Fraga

Little-Richards
Shiv Kotecha

Nice Dream?

Heriberto Yépez: Allegory and radical mimesis

Still from Voice Exchange Rates. Walter Benjamin notes that the image of the skull is especially fit for allegory in that it poses “not only the enigmatic question of the nature of human existence as such, but also of the biographical historicity of the individual.”

“Talk-It,” the speaker-cum-software bot of Heriberto Yépez’s video-poem “Voice Exchange Rates,” describes itself as a technology “designed to help poetry return to the righteous path of the avant-garde” by automating the poetic endeavor: the program reads, translates, and composes in a variety of languages and registers in accordance with the preferences of its human user. 



Heriberto Yépez, Voice Exchange Rates, 2002. Is unoriginality already the preferred condition of USAmerican experimentalism?