Do you ♥ e-poetry? Leonardo Flores certainly does. Flores, an associate professor of English at the University of Puerto Rico, Mayagüez, is the driving force behind theI ♥ E-Poetry project, an online scholarly compendium of electronic poetry.
At the On Kawara show at the Guggenheim New York, at the New Museum downtown, in the MoMA’s contemporary galleries, and its “The Forever Now: Contemporary Painting in an Atemporal World” exhibit, I notice many instances of a poetics of making situated in textiles. This is exciting to notice, and it may have been there all along. It is my awareness that has changed.
In the 2009 essay "Hearing Voices," Charles Bernstein writes that “a poet’s reading of her or his own work has an entirely different authority" from that of other readers. Bernstein assures his readers that his assertion is not "just another way of fetishizing the author and the author's voice" but rather a way of acknowledging that "the archive of recordings, as well as the live performance, of contemporary poems is almost exclusively composed of poets giving voice to their own work" (142).
Recently, one of the writers teaching for InsideOut Literary Arts (iO) shared Kandinsky with second graders. It was more of a dialogue than a lesson, as the students were asked to write back to Kandinsky, to engage his painting through language. For over 20 years, iO, the largest literary nonprofit in Detroit, has been bringing writers into K-12 schools to lead weekly writing workshops. At the end of the academic year, iO publishes an anthology of student writing for each participating school, complete with a book launch and reading. With approximately 30 schools and 4,700 students participating in the program, most of them in the Detroit Public Schools system, iO stays busy.
The arrows that traverse Adam Greenfield’s “The Network City” not only pay homage to Debord and Jorn’s “The Naked City” but also suggest a cluster of arguments that grow increasingly persuasive as counter-mapping enters the digital age.