Note: Craig Dworkin, author of Parse (Atelos, 2008), No Medium (MIT Press, 2013), and founding senior editor of Eclipse sat down with me on July 21, 2015 for a conversation in Salt Lake City as part of the one on one podcast series.
One of the ways an experience of time is produced in poetic contexts requires engaging our body's memories, such as how we hear a sound. The way sound decays in a space, or how it moves and dimishes across a duration of time, engages our ability to take note of the unfurling present moment. It's a particular attention, fixated on a deeply embodied phenomenon that reinvigorates our ability to locate ourselves in the world. To invoke a sound is to invoke the body in present time.
I find this link between sound, the present, and the body richly explored by Tan Lin's digital poem, “Echo,” archived at UbuWeb. An echo reflects sound waves back to the listener, often in a diminished manner.
I first started to look at Erica Baum's art when she did her Card Catalogue series: close-up photographs of old library card catalogues that showed several of the card tabs imprinted or typewritten (and sometimes, for really old cards, handwritten) to indicate subject headings, categories, etc. Several of these photos show the catalogue drawer labels. My favorite of these is "Jersey City—Jesus." Anyway, that was 1997. Erica has done several interesting projects since then, all exploring the visual qualities of language as photographic subjects; words in the visual ambience, just there for the looking. Ubuweb has a pretty good collection of PDFs marking the progress of this art. Have a look.
“The card index marks the conquest of three-dimensional writing, and so presents an astonishing counterpoint to the three-dimensionality of script in its original form as rune or knot notation.” — Walter Benjamin, One-Way Street