This essay by Andrea Brady is the first of five “first readings” we will publish — initial responses to the experience of hearing Basil Bunting cover Thomas Wyatt’s “Blame Not My Lute.” The recording is linked here and also available at PennSound’s Bunting page. — A.F., B.R. & C.W.
Basil Bunting’s voice is so familiar – the Briggflatts intonation, half-Santa Claus, half-priest, that hieratic tone which makes Ezra Pound reach for his kettle drum; those luxurious rolling rs.
from Cristanne Miller, Myung Mi Kim, and Judith Goldman.
(I plan to be at the conference.)
*Please find below* a Call for Papers for a University at Buffalo English Department Poetics Program conference. This conference will be preceded by a Friday April 8 Robert Creeley Lecture. This is the inaugural lecture in what will become an annual lectureship in poetry and poetics, and in 2016 will include a community celebration and presenters on Creeley's translation into and reception by the French. More information about these events (free and open to the public) will be forthcoming at a later date. Please feel free to circulate the Call for Papers.
Poetry for Robots, a newly released site from Neologic Labs, Webvisions, and the Arizona State University Center for Science and the Imagination, asks "What if we used poetry and metaphor as metadata? Would a search for 'eyes' return images of stars?" Envisioned as a digital humanities experiment, Poetry for Robots displays a set of images on its landing page. Users who click on one of these images are taken to a new page where they are informed of their participation in an experiment in metaphor and metadata and invited to contribute poetry of 20 words or 150 characters to the site, using the image as a prompt. At Webvisions Chicago 2015, the creators will analyze what the algorithms (i.e. the robots) have learned from poetry contributed to the site, using search operations.
Norbert Lange and Charles Bernstein read their collaboration, "Apoplexie/Apoplexie" in Dresden on May 17, 20015 (24:29): MP3 This work begins with Bernstein's "You" (from Resistance, 1983) and cotinues with Lange's translation, then Bernstein's translation of Lange's version, over nine rounds (18 poems), written in 2013 and 104.
No language is one. That’s one of the more salient affirmations of Derrida’s work on translation. This multiplicity and struggle for meaning, the infirmation of a singular text, is amplified in these works that introduce images in ways that are additive, not reproductive. Eugenes Ostashevsky and Timerman’s recent collaborative chapbook The Pirate Who Does Not Know the Value of Pi, Part I extends the informatic looseness of Brainard/Berrigan’s Drunken Boat to show that if language is not one, neither is it 3.14159265 . . .