Commentaries

The capacity of patterns

Architecture and design

My former student Paul Andersen has now created a design studio in Denver called "IndieArchitecture." It's a design and research group that takes on a variety of projects—-from designing buildings to writing books to curating contemporary art exhibitions. As an alternative to mainstream, mass produced, and corporately funded architecture, the office embraces its small market status, is associated with collegiate backpack intellectualism, and consistently seeks new ways of disseminating architectural and urban ideas. Paul, the director, has taught at the Harvard Graduate School of Design and Cornell University, and is a guest curator at the Museum of Contemporary Art Denver. "Conceptually," says Paul, "we maintain an ongoing interest in patterns—visual patterns, but also behavioral, structural, organizational and other types of patterns. Patterns have a unique capacity for integrating a wide range of materials, functions, forms, environmental systems, and even cultural trends in a coherent and technically precise project. They bridge worlds of knowledge and matter, art and science, and for us, research and practice." [web site]

An algorithmic poem/painting

Suicide in an Airplane (1919) is an algorithmic poem/painting by Brian Kim Stefans with music by Leo Ornstein, played by Marc Andre Hamellin.Suicide in an Airplane (1919) is an algorithmic poem/painting by Brian Kim Stefans with music by Leo Ornstein, played by Marc Andre Hamellin. The text is derived from the New York Times. Download it at Brian's site Arras.net.

Taking Freud out of psychoanalysis

David Antin

A talk by David Antin
"Rethinking Freud – Taking Freud out of Psychoanalysis"
3:00 PM Tuesday February 16
at the Kelly Writers House
A talk by David Antin
"Rethinking Freud – Taking Freud out of Psychoanalysis"
3:00 PM Tuesday February 16
at the Kelly Writers House

You can watch by live video stream: http://writing.upenn.edu/wh/multimedia/tv/

David Antin is a poet, performance artist, art and literary critic internationally known for his "talk pieces" -- improvisational blends of comedy, story and social commentary that critics have described as "a cross between Lenny Bruce and Ludwig Wittgenstein" or alternately as "a blend of Mark Twain and Gertrude Stein." New Directions has published three books of these "talk pieces" -- Talking at the Boundaries (1976), Tuning (1984), and What it Means to Be Avant-Garde (1993). Tuning was awarded the prize for poetry for 1984 by the PEN Center of Los Angeles. Much of his earlier work was collected in Selected Poems 1963-1973 published by Sun and Moon Press in 1991. Antin has performed at the Whitney Museum, the Guggenheim, the Museum of Modern Art, and the Getty Center in the U.S., at the Centre Pompidou and the Musée d'Art Moderne in Paris, and performed both improvised and scripted verbal works for radio and television. Antin has designed Skypoems, short texts he describes as "commercials that aren't selling anything," that have been skytyped over Los Angeles and San Diego, and Word Walks for urban parks, as well as an ongoing electronic poem for an airport. He received fellowships from the Guggenheim Foundation and the NEH and was awarded the PEN Los Angeles Award for Poetry in 1984. He has published criticism in most major art and literary journals, and his work has been written about in The Poetics of Indeterminacy, Marjorie Perloff (Princeton, 1981); The Object of Performance, Henry Sayre (Chicago, 1989); The Jazz Text, Charles O. Hartman (Princeton, 1991). An extensive interview with him has been published in Some Other Frequency: Interviews with Innovative American Authors, ed. Larry McCaffery, U. Penn. 1996, and the Review of Contemporary Fiction devoted its entire Spring 2001 issue to his work. Dalkey Archive recently republished his 1972 book talking (originally published by Kulchur Foundation) with a Preface by Marjorie Perloff and a Postface by David Antin. Granary Books recently published A Conversation with David Antin, the text of a three month email conversation between David Antin and Charles Bernstein. The most recent works include two new collection of talk pieces -- I Never Knew What Time It Was (UC Press, 2005) and John Cage Uncaged is Still Cagey (Singing Horse, 2005).

yesterday's Bernstein convergence

All the president's libretti. Yesterday, journalist Carl Bernstein took some time at a Manhattan restaurant to read the libretti Charles Bernstein wrote for Ben Yarmolinsky's music in Blind Witness. My favorite literary photographer, Lawrence Schwartzwald, happened by and took this photo of the productive Bernstein convergence. (The photo was taken at Barney Greengrass (the Sturgeon King), Upper West Side deli on Amsterdam Avenue.)

your 2010 mind of winter

The video recording of our annual January "Mind of Winter" event--which always begins with a reading of "The Snow Man" by Wallace Stevens--is now available: here.