In conjunction with the publication of the book and Sibyl's publication of the introduction, Lipman has made available a set of Porter images, which I include here. Photos by Lipman and Tom Barden, taken 1998-99.
Two months after my initial conversation with Amanda Stewart, which I described in one of my first commentary posts, I returned to her house to continue talking: this time, to ask specifically about her work in the collective Machine for Making Sense, who were active from 1989 to 2005. Machine were Amanda Stewart, Chris Mann, Rik Rue, Jim Denley and Stevie Wishart. They simultaneously and dissonantly worked with improvised and composed music, sound, text and performance. Their recorded output includes five CDs (you can preview tracks from the CD Dissect the Body here). They toured internationally and impressed significantly on local formations. The interview below is specifically interested in Stewart's experience as a member of the collective; her answers do not attempt to represent the collective, or to speak on its behalf. The text has been transcribed and edited from a longer recording (which features beautiful early-summer birdsong of Sydney, as well as the blissful snores of Stewart's mother's dog, Suzie, who was happily adream for our nattering!)
Maybe a secret of poetry is that its most disturbing power is something we never quite see or hear or make sense of, but which is invisibly transmitted from the bones of the poet to bones of the receiver.
I met Jerome in the Spring of 1950 at a small party given by a Francophil professor, where seven or eight of us sat around with wine glasses under a modest collection of School of Paris paintings, making awkward conversation about modern art and poetry, when I noticed a short noble -browed guy in a green suit sitting across from me, his green eyes blazing with the kind of disapproval I was feeling myself. This was not what we were looking for in modern art and poetry. Some time in the fall we met again, realizing we were both trying to become poets, and we started to hang out together, searching for signs of a living experimental scene, listening to folk music and jazz, and checking out modern dance and music in a culture that believed artistic experiment and exploration were over. And it wasn’t till the late 50s that we caught up with cool jazz, Abstract Expressionism, John Cage, Wittgenstein, Fluxus and Pop.